In his first exploration of the French New Wave since college, Jim explores the jovial and sympathetic nature of the juvenile delinquent protagonist of The 400 Blows and dares question whether it's actually a GREAT film on its own or just a great EXAMPLE of a specific expressionistic moment.
IDMB Episode 110 - Introduction to Francois Truffaut (featuring Robert Hornak of More Than One Lesson)
College Jim would be so pissed that (Pretending to Be) Adult Jim is covering the French New Wave! Robert Hornak stops by I Do Movies Badly to both round out appearances by the MTOL team and recommend some films from arguably the most iconic director to emerge from La Nouvelle Vague. The boys discuss the cultural and artistic background of the New Wave filmmakers, what spoiled it for all of us (*cough*Godard*cough*), and how Truffaut's vibrancy and truth separated him from his peers. For proof, Robert recommends: The 400 Blows (1959), Shoot the Piano Player (1960), and Day For Night (1973).
I have absolutely no idea what to say about The Mirror - arguably the least accessible film I've ever seen - so how about I ramble for 40+ minutes about our relationship with Art? Sound good? Yeah, I didn't think so either. At least there's a Simpsons reference (referencing Twin Peaks).
I can't lie - Solaris didn't make a whole lot of sense to me. I can't really understand, decipher, interpret, or filet Solaris, but what I CAN do at the very least is see what universal truths this piece of art reveals to me, even if those truths may not be at all what Tarkovsky intended. Just because a piece of art doesn't hold validity with me doesn't mean it's not valid.
IDMB Episode 106 - Introduction to Andrei Tarkovsky (featuring Doug McCambridge of Good Times, Great Movies)
Seeing as we're in the dead of winter, what better time to cover a director whose films aren't exactly fast paced? Douglas McCambridge of Good Times, Great Movies stops by to discuss his love for physical media and the late Russian filmmaker Andrei Tarkovsky, who was never accused of MTV style editing, fleeting attention spans, or happy endings, and whose films include: Ivan's Childhood (1962), Solaris (1972), and The Mirror (1975).
Billy Wilder/December/2016 wraps up with Wilder at either his best or worst (depending on if you like a cynical filmmaker or not) with Ace in the Hole, the film that shows contempt for the one entity that is fully capable of tanking a film: the audience.
Yes, Double Indemnity is a dark and cynical film-noir that features murder, betrayal, and murky motives, but what stops it from falling too deep into the darkness is the hope of redemption found in the love story at its heart. No, not the love story between Walter Neff and Phyllis Dietrichson...
Happy Holidays to one and all!
The tables are turned in this introductory episode when Jim's old friend and former podcast co-host Geoff Gresh takes over hosting duties to grill Jim about his favorite filmmaker, Billy Wilder! Along with countless interludes for irreverence, the boys discuss why Wilder respected writing more than directing, why he doesn't seem as relevant to a contemporary generation of young film fans, and how his position as an outsider in Hollywood allowed him to (as the kids say) not GAF. The recommendations come in order of descending happiness: The Apartment (1960), Double Indemnity (1944), and Ace in the Hole (1951).