Annie Hall (1977) Audio Commentary

Little known fact: when he was in grad school, Dr. Ian Malcolm was friends with Tony Lacey

RC-2013-109: Annie Hall (1977)



Recently, Turner Classic Movies aired Annie Hall, and I was reminded of just how extraordinary a picture it is—a romantic comedy that's exceedingly romantic and funny. This commentary was inevitable. As you watch Alvy's hangups doom his love life, you'll hear me marvel at the film's wildness, the way it breaks every rule. Along the way, I explain how Ralph Rosenblum and Gordon Willis influenced Allen's artistic vision, why the film's non-chronological structure works so well, and the background on Marshall McLuhan's cameo. Freud gets discussed, as does Shelly Duvall.

To sync up, pop in your copy of the film, and hit "pause" when the United Artists logo fades to black.

Show Notes

• Robert B. Weide's Woody Allen documentary
• The Film That Changed My Life book by Robert K. Elder
• Rosenblum's book, When the Shooting Stops, the Cutting Begins

Listen to the mp3. Or be an iTunes person.

Scarlet Street (1945) Audio Commentary

The "self portrait" of Kitty March, Joan Bennett's fast-talking femme fatale who steals Edward G. Robinson's heart in Fritz Lang's film noir, Scarlet Street 

RC-2013-108: The Film Noir Series—Scarlett Street (1945)




Ask a person to name her five favorite Fritz Lang films, and you're not likely to hear Scarlet Street. Yet it has all we've come to love about Lang—and about film noir. Inside the dusty B-movie packaging we find a big star, Edward G. Robinson, playing somewhat against type as a meek cashier named Chris Cross. As we watch the noir vortex suck him in, my heavily shadowed commentary addresses the ongoing debate over film noir's definition, the way Fritz Lang utilizes his roots in German expressionism, and the snappy dialogue of Dudley Nichols' screenplay. I'm also able to put my love of the film aside long enough to discuss the fascinating life and career of Robinson and the even more fascinating life of Joan Bennett, the femme fatale who would see life dangerously imitate art only a few years later. You have my permission to pronounce "film noir" any way you like. To sync up, hit "pause" just after the old Universal logo fades away and the "Walter Wanger Presents" title card takes over the screen.

F.Y.I., This film belongs to the public domain. It may therefore be downloaded, legally, with impunity.

Show Notes

• I referenced this biography of E.G.R. a couple of times
• All about Joan Bennett and that deadly love triangle here
• More on the definition of film noir 

Listen to the mp3. Or get it at iTunes, for cat's sake...

The Godfather (1972) Audio Commentary

Marlon Brando getting his Don makeup on while Francis Ford Coppola waits patiently for his nemesis, Popeye, to show up

RC-2013-107: The Godfather (1972)



When e-mailer Tomy suggested a few films that might be ripe for a commentary, The Godfather was the one that lept out at me most. It seems there's actually quite a lot to say about the movie nearly everyone regards as great, so why not give it a Rob Job. (I'm so sorry. I will never say that again.) I discuss how Coppola's uncanny decade (approximately 1970-80) was enabled by the exciting changes happening in American filmmaking from about 1964 to 1980 (a span of years I select arbitrarily), deciding that Coppola and his dream that was American Zoetrope represent  the best characteristics of the so-called Film School Generation. While pointing out the big stuff, like the lovely computerized opening shot and the film's many quotable moments, I also gab about such matters as Michael's bifurcated personality, how Gordy Willis' stark lighting helps highlight the film's handling of gender, and the beautiful way Coppola doesn't "lean into" the many instances of visual symbolism. I also theorize as to why this film has become a synonym for "great movie" and, as is my habit, think out loud about how movies attain the status of classic. At some point, I also prove that I can name all the (fictional) five families of New York, and then I pathetically commend myself for being so perspicacious about trivia. I screened the Blu-Ray of The Godfather while recording the track; to sync up, hit "pause" on your player just after the Paramount logo has faded to black.

Show Notes

• Howard Stern's interview with Gianni Russo (the guy who played Carlo and who, among other things, claims to have slept with Marilyn Monroe when he was a teenager)
• Pauline Kael's original review of The Godfather—her lede: "If ever there was an example of how the best popular movies come out of a merger of commerce and art, 'The Godfather' is it." 
• An educational documentary about the Film School Generation (hosted by John Lithgow!)
• The saga has its own wiki
• One of the many books about the saga can be browsed here
• Vanity Fair's excellent 2009 feature piece about the making of the film
• John Belushi playing the Don in that classic SNL sketch
• Production notes by TCM 

Listen to the mp3. Or keep your friends close and your iTunes closer.

Special Episode: "Back Beyond" — the deleted scenes featurette for The Master

Freddie dreams of Auntie Bertha

RC-2013-106: "Back Beyond" (Deleted scenes featurette for The Master)



In this special episode, I keep the conversation about The Master going by taking 20 minutes to babble through "Back Beyond," the deleted scenes featurette found on the newly released DVD/Blu-Ray. So, even though we've already enjoyed a spirited commentary track on the film, let's sift through the cutting room floor detritus together. Come on. What bothers you about our travels into the past?!


Download the mp3. Or get your iTunes on.

Take This Waltz (2012) Audio Commentary

Sarah Polley sees no sign of zombies on the set of Take This Waltz

RC-2013-105: Take This Waltz (2011)



Sarah Polley's intelligent second film takes its name from a Leonard Cohen song, and speaking in my deepest, most morose voice I explore the really brightly colored poetry of Take This Waltz. Praising Polley's directorial skills, I compare the film to her first feature, Away From Her, and decide that this latest film is refreshing in many ways and slightly missing the mark in others. Before long, I decide I know best about comedians acting in movies, waxing arrogant on the acting of Sarah Silverman and Seth Rogen. The commentary gets weird during an explanation of how handsome men like Luke Kirby learn how to "work that thing" ("that thing" = their handsomeness). Come for the commentary; stay for the dissection of why mere mortal men should not try to pick up women using the rap Luke Kirby's character lays down in the infamous "martini scene." No Canadians were harmed in the recording of this commentary.


Listen to the mp3. Or flirt with those kinky fuckers over at iTunes.