There was a technical issue the night before, which forced us to rerecord this episode during the wee hours of the morning. So picture it ; the two of us sitting at our mics talking about a film with no likable characters, after Doug announces he doesn't want to talk about the movie's storied labor, while still on our first cup of coffee. To make matters more interesting, Devon didn't care for Mikey and Nicky at all, while Doug is so obsessed with all of Elaine May's work (yes, even Ishtar) that he almost can't be objective about why. What you end up with is a podcast episode featuring two punch drunk goofballs forced to sit with this awkwardness, while one of them insists on impersonating Sammy Hagar.

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Happy Casimir Pulaski Day! If you don’t know what that is, you’re still invited to come celebrate it with us! Oh! We also talk about an incredible Polish film we saw. No, really. It blew our minds.

Fun fact : Ida (2013) was the first Polish speaking film to ever win an Oscar.

Also, Neil (The Eastern European fellow from the “Some Like It Hot” episode) called us back to report that he and his husband Mikhail (who called in on our “The Man Who Fell To Earth” episode) are back together! He also tells us a little about his current project.

Devon pulls a sneaky dirty rotten move during this week’s “Let’s Franchise This, Baby” segment.

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Mondo returns to talk about one of the greatest films in the history of cinema, The Life And Death Of Colonel Blimp, produced and directed by “The Archers,” Michael Powell and Emerick Pressburger.

Right out of the gate, I’ll mention that the “Let’s Franchise This, Baby” segment is one of the ages; that is to say, the film we suggest be made is one I would give anything to see. No, really.

We should probably have gushed a little more about Deborah Kerr’s performance. She was only twenty years old when Blimp was filmed and the actress played three different women who were all distinct.

If you’ve never seen this film, it is currently on YouTube for free.

https://www.youtube.com/watch?v=h3RyouSN1YE

Here is a link for a YouTube video of the incredible Thelma Schoonmaker talking about Powell and Pressburger

https://www.youtube.com/watch?v=3sC_zOAsZTQ

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Where to begin? Well, Devon didn’t love this movie. Her reasons are sound. But Doug loves this film…enough to come into the studio dressed as Jesus, which presented a whole other set of distractions/problems. You can see all that magic in our YouTube shorts/Tiktoks and what not…

As far as the film goes, we did a deep dive into its structure, its crew and cast. We dissected it like a high school science class frog and maybe ate it afterwards.

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· ”America’s Trinity Of Love” by Jack Kerouac (1955) read by Jim Oliveira at Spillway Street Studio.

This is probably the most requested film we’ve done to date. So what can I tell you about this episode in advance? Well, I can say confidently that it will be remembered for a host of reasons -one of which is because it marks the first appearance of our special guest co-host, Mondo! Doug also kind of does a “normal” intro. I know. Also, it is the time three people weighed in on the “Let’s Franchise This, Baby” segment, and made money -cash – hoe - movie - magic out of a film most people on earth (and Devon) would never want to see remade. It’s a good one!

One regret though. We never address that bizarre line in the film. You know the one.

“Someone must’ve peed in his mother.”

I have no idea what it means but I think we can all agree that if it is strategically placed, there isn’t a film on earth that couldn’t be improved by this charming bit piece of dialogue. This may be a matter of taste.

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Cody Ramone returns to talk about a film of his choosing, To Live And Die In L.A starring Willem Defoe, William Peterson, John Pankow and John Turturro. This is a really fun episode in which Doug gets to once again gush about cinematographer, Robby Muller, while trying to rework the lyrics to “Greased Lighting” to better fit some random Transformers scenario. Also, listening to Devon recanting a family conversation about William Peterson’s full frontal nude scene is straight up Xanadu.

You should know that this film is not currently streaming anywhere. We had to score it ourselves by means that are usually reserved for that alley way behind the check cashing place. You know the one. Also, it should be pointed out, that if this episode fails at anything, it is the inexcusable lack of gush where Willem Defoe’s performance is concerned. If you’ve never seen the film you should - but either way know that when director William Friedkin discovered the range of his lead antagonist, he frantically scribbled out brand new scenes that weren’t in the script just so Defoe had more to do.

A couple of more notes here.

Next week, we’re doing Amelie. Yup.

Secondly, we have a website. It acts as the Grand Central Station of everything we do.

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A lot happens in this bizarre episode. This week we are joined by special guest co-host and one of Doug’s oldest and dearest friends, Mike Percoco as we talk about THE ORIGINAL Taking Of Pelham 123, starring Walter Matthau, Robert Shaw, Martin Balsam, Hector Elizondo, some other folks and a subway train. It was directed by Joesph Sargeant, who also directed the pilot of Kojak and….well…Jaws : The Revenge.

At some point during the show, a person called, Tony Ratteli called in and claimed his grandfather was in the film. Tony also claimed he works as an intimacy coordinator. Oh, and both he and his grandfather are at least part rat; not to say they’re “snitches” per se but rather literal vermin. It’s a whole thing…

And of course, our show winds down at America’s Favorite Segment : Let’s Franchise This, Baby! This week we attempt to cast an imaginary prequel to The Taking Of Pelham 123 and even assign a director.

As always you can catch us on https://www.radiofreerhinecliff.org/ or wherever you take pod.

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Dear Diane, the world is less interesting now.

First and foremost, we talked about David Lynch a little at the very end of this episode. Here’s the rub - this show was taped the night before the world learned that Lynch let death talk him into leaving us. We will address this next week but know that both of us adore Lynch’s work and were heartbroken to learn that he is no longer with us. We hope both David Lynch and Death are laughing together while keeping each other company.

As for this episode, it is very different. Doug turned the phone lines off again so he could vomit out every behind the scenes story he knew about this movie. We get into our love for cinematographer, Robby Muller and even tacked on another Dennis Hopper story “after the credits” for good measure. Also, thinking we had extra time, we took the “Let’s Franchise This, Baby” segment to a whole other level so don’t get all weird about the runtime. It’s a packed show. Anyway, there’s a fast forward thingie right there on the player if you get bored, Susan.

Enjoy the show!

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