Cold War Film Noir & Kiss Me Deadly (1955)

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Casey, how are you feeling? Uh?

Speaker 2 (00:04):
Hi, MILLI Uh not good. I have COVID, but uh.

Speaker 1 (00:08):
I'm such a bad person that makes the record while
you have COVID.

Speaker 2 (00:13):
It's okay, I'm powered. This is my first time having COVID,
so that's kind of thrilling. I'm always late to the
party on fads. But Milly, I have something to say
to you.

Speaker 3 (00:24):
As we go on, will remember all the times we
had to gether congratulations on graduating?

Speaker 1 (00:37):
Was that pomp and circumstance that you just saying?

Speaker 2 (00:39):
That was Vitamin C's graduation?

Speaker 1 (00:45):
I have not heard that song in twenty something years.
How long has it been since that song I've been out?

Speaker 2 (00:51):
Uh, let's see Vitamin C graduation? Is that the friends Forever? Graduation?
Parenthes is friend Forever nineteen ninety nine.

Speaker 1 (00:58):
Yeah, I thought the lyrics that song were just graduation graduation.

Speaker 4 (01:03):
That's not that's sweet.

Speaker 2 (01:05):
Did you did you embrace a group of friends after
your graduation and say we'll be friends forever?

Speaker 1 (01:12):
No?

Speaker 4 (01:12):
I didn't.

Speaker 1 (01:13):
I Actually, this is so funny that you say this,
because I was looking around. God, I don't know, I
don't know a goddamn person in here. This is so bizarre, Like, well,
the way that they did it, and thankfully they did
it like this, is that they did all the master's
people in one session. So basically they they used to
do everything. When I was undergrad, it was like undergrad

(01:36):
master's PhD. Now the school is so big that they
have to break it up, so it was only masters people,
you know. So it's just if you were if you've
got a master, if you've got an MBA, if you've
got a Master of Arts, fine arts, whatever it is,
like you would you all we were all in the
same graduation. But I looked around and I was like,
I don't know a damn person in here. I don't
even think I see the dean of my college in here.

(01:57):
I don't know where anybody is. My parents came. They
were sitting in the nosebleeds, I mean like real high up,
and so I couldn't hear them scream when my name came.
So it was like it felt very like I just
showed up to a ceremony just to like walk around

(02:18):
in a robe.

Speaker 2 (02:19):
Yeah.

Speaker 1 (02:20):
And also it was raining and we had to stand
outside in the rain waiting to check in to the
damn graduation. And I got rained on. I got rained on.

Speaker 2 (02:33):
Man, I'm sorry, did you throw a hat in the air.

Speaker 1 (02:36):
No, they don't do that anymore. No hats get thrown.

Speaker 2 (02:39):
That was when I graduated high school. They didn't let
us do that either.

Speaker 1 (02:42):
Yeah, And actually I had to I had to retrofit
my hat to my big ass head because the graduation hats.
By the way, can we like fucking change the style
of graduation hats. They're so ugly they don't fit right.

Speaker 2 (02:58):
Yeah, So I had to.

Speaker 1 (02:59):
Like go on YouTube to find out how to stick.
You can actually, like people do a thing where they
cut it and then they stick a headband inside of
it so they can put it on top of their heads.

Speaker 4 (03:11):
Doesn't fall off. So I did that.

Speaker 1 (03:14):
That's clever. So I was like, well, I'm not throwing
this shit.

Speaker 4 (03:16):
I worked on it.

Speaker 2 (03:17):
Well, congratulations, Millie. I mean, it's a huge accomplishment, and
I know it took some time, but I think it's
so great that you put in the work to finish it.
Now it's done. You did it, you know.

Speaker 1 (03:29):
I have to say. When I was in there, when
I was in the ceremony, even though I didn't know
a damn person, I did feel I was I was
trying hard not to cry at several moments because it
does feel like an accomplishment. And I kept looking around
and being like, oh, yeah, there's people out.

Speaker 4 (03:45):
Here like me.

Speaker 1 (03:46):
They're older, some of them have kids, some of them
have our first generation, you know, first people in their
family to get a master's. It's very emotional, and it's
like they're just so proud of people for sticking it
out and totally and we're never paying those loans back,
like none of us are paying our loans back. So
it's fine, but it's emush time.

Speaker 4 (04:08):
I feel very proud of myself.

Speaker 2 (04:09):
So thank you. That's good, and you should think and
we're all proud of you too, Like it's so easy
to it really is so easy to give up. It's
so easy to give up on things you're working on, projects, degrees,
and to actually finish it, it means you did it. You
actually did it.

Speaker 1 (04:27):
You know well, And thank you for saying that, because
you know we're going to talk a little bit about
Los Angeles today. Oh we are. But the reason why
it took me eleven years is because I actually left
the program when I moved to La Yes, So I
it took and I was in LA for five years.
So then I had to come back and grovel for

(04:49):
them to reinstate my credits because it had been a
while since i'd been back in school. And they were like, okay, fine,
we'll show mercy on you. But it was like, yeah,
I think it can be very easy to quit and
never pick it back up, especially if you have like
life changes and stuff.

Speaker 2 (05:05):
So yeah, did you ever remember that Simpsons episode where
Homer quits the nuclear power plant plant and then he
goes back to ask for his job back, and they're like, oh,
there's a there's a different door for people asking for
their jobs back, and it's like a little doggy door
you have to crawl through. That's basically what you had
to do to let you back in the school.

Speaker 4 (05:26):
Oh.

Speaker 1 (05:26):
It was pretty much that I had to find every
professor that I had taken a class with and email
them personally and ask them to reinstate my credits. And
a lot of them don't teach at my school anymore,
so it was like it really Oh yeah, they were like,
who the fuck is this Rando emailing me.

Speaker 2 (05:41):
I've moved on, but oh my god, well, congratulations Melee,
and congratulations to us on an incredible upcoming episode.

Speaker 1 (05:48):
We're about to congratulate ourselves right off of mat.

Speaker 2 (05:55):
Huge, huge episode. I'm so excited. This is like kind
of you know, speaking of my area expertise. I do
feel like this is a little bit of your area
of expertise.

Speaker 1 (06:03):
We're going to be.

Speaker 2 (06:03):
Talking about Cold war film noir, and the movie Kiss
Me Deadly from nineteen fifty five. Very excited. I'm going
to set up the other thing we're doing in this
episode because you have no idea what this is. But
we're also going to be doing build a Noir, you know,
like build a bear. Have you ever been to build
a bear?

Speaker 1 (06:24):
Yes? I have. I have two small nephews.

Speaker 2 (06:26):
So okay, So this is the same thing, just with
a norm movie. There's a lot coming up on this
episode that I'm thrilled about. I mean, film noir. That's
something that's near and dear to your heart. Is it nice?

Speaker 1 (06:39):
I'm a fan of the war, now listen. I I
mean I'm an expert in the sense that I'm a
fan and I used to work at Turner Classic Movies
for twenty years. I'm not, by no means like an
actual expert. A llah. My old colleague Eddie Muller, Szar
of Noir if you will, or even our friend Josh
Fatom who hosts an warnight in Tulsa. Like, you know,

(07:02):
there's a lot of people who are, you know, very
dedicated to the genre, and I think that's why it's
gonna be excited to talk about it, because it is
a niche. I mean, so it's kind of like, yeah,
no war is a niche genre within film, but then
cold warn war is like this whole other micro genre
within it this genre. So I don't know, I think
it's fascinating. I actually think it's relevant. Again, if you will,

(07:24):
maybe we'll talk about that. And I'm really excited. So
let's uh, you're ready to get started.

Speaker 2 (07:30):
Let's do it.

Speaker 1 (07:31):
Okay, Well, strap the fuck in everybody.

Speaker 4 (07:34):
You're listening to Dear Movies. I love you, Dear.

Speaker 5 (07:39):
I love you, and I've got to know you love me.
To check the boox.

Speaker 1 (07:56):
Hey, everybody, h this is Dear Movies. I Love You.

Speaker 4 (08:00):
My name is Millie to.

Speaker 2 (08:00):
Jericho, I'm Casey O'Brien.

Speaker 1 (08:04):
And this is a film podcast that's all about loving
the films of your life, being dedicated, being wedded.

Speaker 2 (08:14):
Wedded, You're wedded and wedded.

Speaker 1 (08:18):
But this is gonna be a great episode. I'm really
excited about our topic. I feel like, yes, there's gonna
be some historical context. I'm not going to give full
history lessons because you could really go hard. Sure, Like,
I don't think I need to tell you all about
the Great Depression?

Speaker 4 (08:32):
Right? You know what that is? Correct?

Speaker 1 (08:35):
But I do. Yes, we'll talk about it a little bit. Sure,
Casey has COVID, so you're gonna have to, you know,
forgive him for you know, COVID brain or whatever.

Speaker 2 (08:45):
Yeah, I do. I feel like it has been harder
to keep things organized in my head since I've had COVID.

Speaker 1 (08:54):
Right about I have to ask, just to follow up
on a conversation we had maybe a couple of episodes ago.
Have we got any cheese steaks in the mail?

Speaker 4 (09:03):
Have we got any cheese steaks?

Speaker 1 (09:04):
No? I don't.

Speaker 2 (09:06):
We don't have a po box, but we've received We've
received no cheese steaks. So please people, if please go
to Bradley Cooper's restaurant in New York. I don't know
where it is, find it, order a sandwich. We will
not reimburse you, but please let us know what it
tastes like we need the review and send us in
a voicemail. I would love that, Like on the street
eating the cheese steak be great.

Speaker 1 (09:28):
Yeah, I mean send a voicemail and then if you
need to send a video, I want you eat a
cheese steak on the street.

Speaker 2 (09:34):
Come on, absolutely, Millie. I just want to say something,
you know. Touching upon our episode last week where we
talked about smoking, my roommate Tom, who was in the
apartment with me when the guy hurled the carton of
cigarettes through the window. I just checked. I just checked
in with him to make sure it was okay. I
talked about that on the podcast and he said absolutely,
and he said, if you'd like, you can mention that

(09:55):
I kicked the habit. So Tom is no longer a
smoker like me, I'm no longer a smoker, and that
his favorite smoking movies are The Big Sleep, Kiss, Kiss,
Bang Bang, and The Handmaiden. Hey, pretty good, Pretty bad.
Tom sent that to us, So thank you, Tom. I
like Tom's taste in films. Tom's great. Tom Uh has
a movie coming out pretty soon. He just wrote and

(10:17):
directed in Ohio, and I think I can say this.
John Lovetz is in it.

Speaker 1 (10:22):
Get out of here.

Speaker 2 (10:23):
Yeah, so keep an eye out for the toast great
coming to cinemas hopefully soon.

Speaker 1 (10:30):
Hopefully that'll be on my letterboxed list soon.

Speaker 2 (10:36):
Absolutely, Yeah, I hope so too, Millie. Should we get
into our film diary?

Speaker 1 (10:43):
That's where I was, That's where I was headed with that.

Speaker 2 (10:45):
Yes, I could tell you're leading me there. So should
we open this huge heavy?

Speaker 4 (10:53):
God?

Speaker 1 (10:55):
Why did I write so much? Why don't have.

Speaker 2 (11:00):
A lot of feelings?

Speaker 4 (11:02):
God? I have a lot of crushes?

Speaker 1 (11:04):
All right, my film diary is pretty short sweet this week?

Speaker 2 (11:08):
Okay, I have I mind minded too, And I think
you and I saw same movie?

Speaker 4 (11:13):
Well, what what is it? What is the movie?

Speaker 2 (11:16):
A little movie called Sinners?

Speaker 4 (11:18):
Yes, we did, we did?

Speaker 1 (11:21):
What'd you think I thought it was? I mean, am
I wrong in that? That is one of the most
insane movies to ever be made?

Speaker 2 (11:28):
It's crazy? It's wild, is it?

Speaker 1 (11:31):
Yeah?

Speaker 2 (11:32):
I loved it, there are some I gave it four
out of five. I that was great. I love watching it.
I'd like to see it again. It was just I can't.
I think about it a lot. There are some big
swings in the movie that made me laugh and I
think unintentionally.

Speaker 1 (11:51):
Yes, but I didn't.

Speaker 2 (11:54):
It didn't detract from it. But I was kind of like, oh, whoa, Okay.

Speaker 1 (11:58):
I listen with you. So I'm always a fan of
directors making big ass swing movies like this. I'm especially
thrilled that it was Ryan Coogler because I am a
fan right yes too. To me, this was like his

(12:22):
like huge from Dust Till Dawn Meets, you know, like
I mean his like genre vampire movie, tons of historical
you know, contexts and references, but just also like plained weird.
There was like weird things happening in the movie that
I loved. And again, I like, even if it wasn't intentional,

(12:48):
I'm glad it happened. Like I'm just sort of glad
even if it wasn't intentional, Holy shit, you're a genius.
If if it wasn't intentional, thank god it happened. I
don't know, I just am like I'm pleased either way.

Speaker 4 (12:58):
I suppose.

Speaker 1 (13:01):
I went I went into it completely blind. I actually
I thought it was supposed to be like a Western,
Like I was thinking it's gonna be like Posse or
something like. I was like, oh, this is like, you know,
some like updated Western or like you know, I don't know.
I had literally no idea what it was about. I
didn't even know it was about vampires whatsoever.

Speaker 2 (13:20):
Yeah, I knew there was a, uh, there was a
vampire element to it, but I was kind of like
what it felt like I was the previews made it.
I felt like I was missing the bigger picture, you know,
I don't.

Speaker 1 (13:34):
I don't even think I saw a preview. I'm not
sure I saw a trailer and I'm not This is again, Okay.
I want to preface by saying this is not to
say that I feel like this that Centers is derivative
of any other movie that I've mentioned. I don't think
it's from from Dustial Dot or Posse. I just think
it's similar. It's like comp similar in the sense that,

(13:55):
you know, these are references that I know of movies
that I've seen that sort of in the same genre.
But I think it's totally singular.

Speaker 2 (14:03):
It's totally its own thing, right I Okay, here's the
review I found that made me laugh on letterboxed from
Brett Arnold. Nobody's ready for how much talk there is
about eating pussy in this movie?

Speaker 1 (14:17):
Okay, thank you for saying that, because that was that
was like almost word for word what came out of
my mouth. When I left the movie theater, I was like,
they really talking about going down in this movie.

Speaker 2 (14:33):
Like they truly do.

Speaker 1 (14:34):
Three or four times, I was like, I guess it
didn't occur to me that people were going down in
the thirties, Like I was like, oh, this, like people
were like really going going downtown.

Speaker 2 (14:45):
Well it wasn't. It's not a yeah, it's not a
twenty first century invention. I think it was. I will
say there's a lot of talk about eating pussy in
this movie, but I felt that the sex scenes were
kind of oddly chased. Everyone is completely fully clothed in

(15:06):
every both men and women in every sex scene, and
I thought that was an interesting choice.

Speaker 1 (15:14):
Well, and I did have this moment Okay, so silistically so.
One of the main characters of the film is a
blues guitar player and Sarah Okay Preacher Boy. Preacher Boy
played by Miles Katon Katon Sure, that's great. Sammy is his.

Speaker 4 (15:40):
Other name versus Pat Boy.

Speaker 1 (15:43):
Later in the film, his grown up version is played
by the actual blues artist Buddy Guy. Yep. And there
was a moment where I imagined the actual musician Buddy
Guy watching the premiere and being like, oh yeah, I
like went down on that lady earlier in my life

(16:06):
in the bar, and maybe him being like, good for me,
good for my character. I like that.

Speaker 2 (16:13):
I like that backstory.

Speaker 1 (16:16):
That's the other thing too. Stylistically, Pridger Boy looks like
Robert Johnson.

Speaker 2 (16:23):
Yeah, yeah, I think that was definitely inspired by that.

Speaker 1 (16:27):
So then it then again, it was in my brain like, well,
now I'm only thinking about Robert Johnson going downtown on
a couple of lates in his lifetime. This movie just
made me think about Connlingis so many times, and it
was just sort of like, was that intentional? Is that
was that part of the story. Like again, I don't
know if it was amazing, If it wasn't also amazing.

Speaker 2 (16:50):
No, but I really I loved it. An original big movie.
We don't get these that often, you know, original big
budget genre movies. It was fun. What fun? It was
a throwback.

Speaker 1 (17:05):
It was a throwback. It was I had no idea
where it was going. It literally it was a runaway
train at times. I was extremely, extremely excited by it.
The first thing that happened that I knew I was like, Oh,
this is gonna be this is gonna be a one
is that. I was like, Oh, Michael B. Jordan is
playing two characters in the same frame. I'm like, is

(17:28):
that Michael B. Jordan or is that another guy that
looks just like him. I'm like, no, no, no, that's
the same guy. He's playing brothers.

Speaker 2 (17:36):
Smokestack, smoking stack, right, smoking stack, Yeah, smoking stack.

Speaker 1 (17:41):
I was like, is that really happening. I was like,
that's wild, that's wild, that that's happening. I had convinced
myself it wasn't happening, and then I realized it was
actually happening, and Okay, this movie is gonna be great.
Strap in. Yeah.

Speaker 2 (17:56):
I think this was Michael B. Jordan's best performance I've ever.

Speaker 1 (17:59):
Seen in anything.

Speaker 2 (18:01):
Yeah, it's real delight.

Speaker 1 (18:03):
It was. It was great, Dell the Great, Delroy Lindo, fantastic.

Speaker 2 (18:08):
Funny love, incredible, Delroy Lindo, everybody is great.

Speaker 1 (18:14):
I mean, it is fun, it is super fun. I
would say, don't I would say, don't listen to us
at all, just rewind and not listen to this part
and going completely blind because it was fun. Else you
see the other movie that I saw besides Centners. This
week was Big Trouble a Little China from nineteen a six.

Speaker 2 (18:35):
Love Big Trouble in Little China. I love that movie.

Speaker 1 (18:39):
I have seen it probably since I was a kid,
and uh it's also funny.

Speaker 2 (18:46):
It's just also funny, weird, and.

Speaker 1 (18:49):
It was very.

Speaker 4 (18:50):
Nostalgic for me.

Speaker 1 (18:51):
Cherry and uh I I personally, like, I'm a big
fan of like eighties Kurt Russell. He was like a
he was like a big, strong male hottie when I
was growing up. Uh huh, So it was like, you know,
it was like the like the adult guy that you
would see in like the movies for kids that you're like, oh,

(19:13):
he's so hunky. I hope one day I grew up
in like marry a guy like that. So it brought
back a lot of positive feelings. Sure, and yeah it
was great.

Speaker 2 (19:24):
Yeah. I like that movie because there's a lot of
like secret passageways and trapdoors and I love movies like that.

Speaker 1 (19:31):
Yeah, I do too. And it's just fun. It's like
a fun you know, sort of like very fun like
supernatural like act like Asian action. It's it's fires on
all cylinders. So that's it for me. What about you?
Very good.

Speaker 2 (19:48):
I also watched I'd never seen this movie before and
it's been on my list forever, like literally ten years,
and I was like, I need to get this off
my list. And it's twelve Years of Slave from twenty thirteen. Oh,
I just never seen it.

Speaker 1 (20:01):
Wow.

Speaker 2 (20:02):
And I watched it and it was good and it
was sad. Uh and uh. Yeah, it's a little bit
of a Broccoli movie, you know. It's kind of like
you feel like you're supposed to watch it. And it
was good. Everyone's it's amazing, you know so, But I
don't really have anything to say about it. Sure, but
I did watch it. Steve McQueen, Steve McQueen, I love

(20:26):
the movie Hunger and Widows. Yeah, did you ever see Widows?

Speaker 4 (20:34):
I have it.

Speaker 1 (20:35):
But you know we did the small acts movies.

Speaker 2 (20:38):
Small acts, Yes, those are great too. AnyWho, that's I
think that's it for the film diary.

Speaker 1 (20:44):
Let's close it up.

Speaker 4 (20:46):
Oh, shut this heavnything.

Speaker 2 (20:48):
I can't alrighty Mallie, we're back for our main discussion,

(21:11):
and today we're talking about kiss Me Deadly from nineteen
fifty five. What a film. I've never seen it before.
Thank you for saying we should do this, oh, now
you this is a like this is a cold war noir?

Speaker 4 (21:30):
Yes?

Speaker 2 (21:32):
What makes a cold war noir to you? And I
guess what makes a noir?

Speaker 4 (21:38):
Sure?

Speaker 2 (21:38):
And what makes a cold war noir to you?

Speaker 1 (21:41):
Okay, let me try to answer your second question first. Okay,
So noir film noir, as you've just mentioned, I'm sure
most of you listening right now have heard the term
know what it is. But you know, it's a grouping
of films that were made in sort of the Golden
era of Hollywood that were primarily you know, dark subject materials,

(22:05):
a lot of crime, a lot of these like stories
of you know, greed and paranoia and mistrust in fem
fatal the fem fatal tradition came out of this you
know genre if you will, and you got you know,
these really big film in the war kind of caricatures

(22:26):
like the Bogarts and the Sterling Hayden's and the Robert
Ryan's and Alan Ladds, you know, just like heart boiled
sort of detectivey type of stuff, you know, meets fem
fatal's usually black and white. A lot of them shot
in la which we'll get to in a second. But
you know, the tradition of film in the war really

(22:47):
came out of the Great Depression, and it was kind
of ushered in by these you know, crime novel writers
like for example, Dashel Hammett, Raymond Chandler, big La connection
with Raymond Chandler. So basically what happens is you've got
you know, late thirties, post Great Depression. You've got these

(23:09):
you know, crime novels being written by these authors. At
the same time, you've got this ramp of production in Hollywood,
so they're making more and more movies. A lot of
people from Germany especially, but in Europe, we're coming over
to America to work in Hollywood because of World War Two.

(23:31):
So you've got a lot of German directors and German
actors who are coming in who have you know, studied
under their own film traditions and the you know Wymar
era of German cinema. Again trying not to like go
down the rabbit hole with the history stuff, but it's
it's a little interesting. So you kind of have all
these influences coming together. Plus you've just got the general

(23:53):
vibe of America at the time, which is basically moving
into World War two, post World War two, you've got
a lot of crazy shit happening, a lot of like paranoia,
a lot of again, like we're moving into the sort
of McCarthy is Communist red scare. So all of these

(24:18):
like things are swirling together. And so you've got like
the film the War Tradition and then the Cold War
film in the War Tradition is really just an extension
of that of the history of like actual film the
War starting in Hollywood, but then moving towards like the
fifties where we were getting super freaked out about communists
and you know, the Cold War atomic bombs, you know

(24:40):
this kind of stuff. So that's kind of how it works,
is that it's moving. It's basically cold Cold War film
noir is basically just like a little subsect of the
film the War Tradition that's already happening.

Speaker 2 (24:53):
Very good. Should I do a quick brief synopsis of
the movie, You're.

Speaker 1 (24:59):
Going to have to. I believe I'm gonna have to.

Speaker 2 (25:02):
So this movie Kiss Me Deadly. It's kind of a
bizarre film like it is, Uh, it's like obviously a
film noir movie, but it also has kind of a
interesting other tone. I can't place my finger on it,
but it's about Mike Hammer played by Ralph Meeker. He's
a tough private eye in la Well. Driving one night,

(25:25):
he almost runs over a basically nude woman on the
run in the middle of the road. He's wearing just
like a rain jacket. This is Christina played by Chloris Leachman.
She's in trouble and they are soon attacked by goons
and Christina is killed and before she dies, she tells
Mike remember me. Well, he feels this is just by

(25:48):
a gut feeling. He's like, this is connected to something bigger.
So he begins investigating and with the help of his
friend with benefits, secretary Velda Wakeman played by Maxine Cooper,
they find themselves in the midst of a conspiracy that
includes radioactive material, Beverly Hills mansions, and lots of whiskey drinking.

(26:09):
And that is kiss Me Deadly, which I don't quite
understand what the title has to do with anything, but
it's a good title. And yeah, I had never seen
this before. Well, I guess I wanted to ask you, like,
do you have any like why did you pick this
movie specifically for like cold cold war film noir?

Speaker 4 (26:31):
Right?

Speaker 2 (26:31):
Why this one?

Speaker 1 (26:32):
Well, I mean, okay, so there's a lot in this.
I mean I'm saying, oh, here's this like really kind
of strange, unique micro genre, you know. But yeah, there's
actually a lot of movies that you could fit into
this category of Cold war film, the war like communists film,

(26:53):
the war, whatever you want to call it. So I
think besides kiss Me Deadly, I think one of the
most popular ones is pick Up on South, which was
a movie from nineteen fifty four directed by Sam Fuller.
Richard Widmarks the Star like you know, basically that and
kiss Me Deadly, I feel like, are the two big ones.
But you've also got this is a movie that I
actually wrote about in the TCM Underground book, which is

(27:17):
this movie called Shockout on one oh one, directed by
Edward Dean nineteen fifty five, you know, starring Lee Marvin
in one of the scuzziest roles you'll ever see Lee Marvin.

Speaker 4 (27:26):
He plays a short order cook named Slob.

Speaker 1 (27:30):
But also you've got movies like The Woman on Peer, thirteen,
Five Steps to Danger, The Red Menace, The Whiphand Walk,
A Crooked Mile, The Iron Curtain, Diplomatic Career like all these,
you know, and being directed by pretty famous people. I mean,
you've got people like William Cameron Menzies and William Wellman
and Henry Hathaway. So like, you know, these were like

(27:50):
pretty big noir films, but they just all kind of
happened to be settered around communism, you know, Soviet spies,
people who are being like, I don't know, kind of
you know, the paranoia of maybe somebody being a communist,
you know, working with a communist. Somebody's gonna there's a

(28:11):
secret Soviet plot to like you know, take down this
and that. So this is a very fertile ground. It's
very rich, I think, particularly with Kiss Me Deadly. I
think there's something very unique about it. Number one, you've
got Ralph Meeker, which we'll talk about in just a second.
But number two, this it's just such a bizarre there's
a lot of bizarreness about this film.

Speaker 4 (28:33):
I think is really interesting.

Speaker 1 (28:36):
Part of it is that the character of my Camera, right,
who is the lead character of Kiss Me Deadly, played
by Ralph Meeker. Now, this story was based off of,
you know, the Mike camer character that was created by
the writer Mickey Splaine, you know, another one of these
crime writers, and in the book, the Mike Camera character

(29:00):
or dare I say he was like a little miser
then in Mike Camera in the book. In the movie,
Mike Camera is like king of the assholes, wouldn't you say? Yeah,
he's a big time dick. Yeah yeah, And they really
amp that up, which I think is so interesting because again,
not to get all film history one on one with

(29:20):
you guys, but I guess I am since I'm hosting
a film podcast, like you're in the era of Hollywood.
We're still under under the production code. You know, yes,
you had assholes and stuff in films, of course, but
like he was still like underneath this kind of framework
of decency.

Speaker 4 (29:41):
I guess. I guess it's the best way to call it.

Speaker 1 (29:44):
To see an out and out sociopath like Mike Hammer
and Kiss Me Deadly. The movie is kind of crazy
because he's kind of like unapologetic about his motives.

Speaker 2 (29:55):
Right yeah, I mean I I in the summary of
the plot, I say he has a Friends with Benefits secretary,
but it's like he kind of treats this woman like
shit and like they're hooking up all the time, they're
not really together, and he seems to be like looking
to get laid elsewhere, you know, but like he still

(30:18):
kind of expects her to be his lover. Yeah, and
but like is really unkind to her. It's it's pretty wild,
a pretty wild relationship to be seen to be shown
on screen without any scene of him being like, I
feel bad for the way they treated you. There's no
scene like that in this movie, you know.

Speaker 1 (30:37):
Right, And like again, we're talking about filming the war,
so we're not we're not saying any of these guys they're.

Speaker 4 (30:43):
All anti heroes.

Speaker 1 (30:44):
Like even like the best and nicest film in the
War guys are anti heroes. Right, So it's like you're
you're taking this is the underbelly of society. We're not
talking about you know, freaking and you know, I don't
know Henry Fonda in you know, a screwball comedy. We're

(31:07):
talking about these are people who like live on the
edges of society. A lot of detectives that have the
little samurai apartment, the shit shack with like their weird bird.
So it's like, you know, we're we're talking about bad
people necessarily. So the issue of this guy being extra bad,
I think is shocking to me because it's like.

Speaker 4 (31:28):
You're you're absolutely right.

Speaker 2 (31:30):
Number one.

Speaker 1 (31:31):
He's he's basically like a fucking playboy bachelor running around
La making out with everybody. His business is completely predicated
upon him and his partner, this woman that he kind
of keeps, you know, dangling a carrot in front of Romantically,

(31:51):
they're out there basically seducing people because they're they're they're
basically divorce you know. He's like a private investigator, he
works in divorces, right, yeah, And they're basically he's taking
the lives and she's taken the husbands, and they're trying
to like you know, woo them a little bit so
they can get info to help them in their investigations.
So it's all like for their own ends. There's no

(32:15):
they're just holing around town basically, they truly are.

Speaker 2 (32:18):
It was kind of shocking to see in like an
older film to have a plot line like that where
they're both like, yeah, we're both like fucking and sucking
all around town trying to trying to get to get
here and there.

Speaker 1 (32:34):
Yeah. Yeah. And then you know, on top of that,
he's the kind of guy it's like this is I
think why I think people love noir generally is because
you're hanging out with the scumbags, right, So yeah, Mike
Camera is running around La, you know, trying to figure
out the situation with this woman in the trench coat. Uh.
By the way, you said this during the their synopsis.

(32:58):
But I but I have to say the first few
moments of this film where their credits are rolling, where
you basically hear like you basically hear a disembodied woman's
voice basically sounding like she's having an orgasm. M hm
over the credits. Well, it's just a shot of two
people driving down the road. Wild shit. Like I was like,

(33:22):
every time I watch it, I'm like, it sounds like
a lady is like having an orgasm right now, and
we don't know why the movie just started. We know
she's naked under a trench coat.

Speaker 2 (33:33):
It's like that scene in Curb Your Enthusiasm where Larry
has a vibe. His car is like kind of beat
up and has a shaky seat and people keep women
keep having orgasms in his car. Have you ever seen
that episode?

Speaker 1 (33:44):
It's just like that.

Speaker 2 (33:45):
So the beginning of the movie is so jarring because
you're like, the way you're introduced to these characters is
like Mike Camera almost hits this woman. He begrudgingly lets
her into his car. He's like, I should kick your ass,
I should kick you out of the car. He's like
not nice to her, but then he kind of protects
her against the cops who stop them, who are looking

(34:08):
for a runaway woman. And so you're kind of like
you're just totally thrown into this movie in such a
crazy way. It's really like disorienting from the jump, right.

Speaker 1 (34:20):
And that's the thing is that so he basically starts
out sketchy and just continues to be sketchy throughout the
whole film, even as he's trying to solve this mystery
and be theoretically quote unquote the good guy, the protagonist,
even though, like I said, he's shady as fuck. I
mean he's you know, not only fucking sucking as he
said around La, but he's also like slamming guys hands

(34:44):
and drawers, and he's kind of like taking alaw in
his own hands. He's just like beating people up and
threatening people and like you know, walking into people's shitball
apartments and like shaking him down. You know, he's like
not I mean, he's like got his own way of
doing things and they're not great.

Speaker 2 (35:06):
I don't do they I don't remember if they say
it was he a cop before I want to say,
I don't think.

Speaker 1 (35:13):
I don't know.

Speaker 2 (35:13):
I don't know if they ever say it, because usually
in these it's like a private eye was formerly a
police officer and so they have some code of ethics.
But he might have just gone right to private eyeism
and uh has no ethics whatsoever.

Speaker 1 (35:28):
I think, Mike Camera, the character was ex military or something,
but I think he was a cop, which I see.
But you're right, like there's a lot of X cops,
like crooked cops that become private investigators. That's like a
very maybe that's part of our build in the wir later,
but it's I wanted to ask you because I know

(35:49):
that you're like again, not that this podcast is about
the time that we lived in La together, but let's
talk about La film the war is like sort of.

Speaker 2 (36:02):
See it's the main film noir city.

Speaker 1 (36:06):
I'd say, there are that of San Francisco.

Speaker 2 (36:08):
That's what I was thinking. Yeah, there's something about night
in La too, because it is such a sunny city.
You know, there's not very many tall buildings, so it's
just like sunshine is pouring down on you all the time,
so when it's dark, it feels very inverted from its
normal personality as a city. And even when you're in

(36:30):
La now you can kind of just sort of step
into that film noir mode, like you can kind of
like cosplay as if you're in a film noir just
by being in the city, you know, in certain parts
of downtown or whether you're like on the Angel's Flight
which is in this movie, or in some of the
older parts of town in La it's fun to kind

(36:53):
of like enter that world in a real way.

Speaker 1 (36:55):
You know. Well, I'm like, I think that's like kind
of what I think La. I mean, there's practical purposes,
Like I mentioned earlier, there were practical purposes for film
The Waters to be shot in La, right, because again
you've got you know, basically.

Speaker 4 (37:12):
Germans making cheap B movies downtown.

Speaker 1 (37:16):
Right. But then you've got this real strong contrast of vibes.
Let's just say vibe contrasts if you will, because you're
absolutely right. The thing that makes La alluring, at least
for me, and part of the reason why I always
wanted to live there and I enjoyed living there is
because you've got this like high low scenario of like

(37:39):
great weather, great vibes, people running around drinking tonics and
going you know, fucking sweating in workout classes and dreams
and hopes. And then you've got like the black Dahlia
and like fucked up shit and like you know, weird,
you know, parts of tawn that seem like sketchy. And

(38:03):
you've got the underbelly of La, which has a lot
of homelessness and crime and you know, corruption. So there's
like two things happening at the same time. And I
think that that's why La is fascinating. And I actually
think that there are other parts of America.

Speaker 4 (38:21):
That are like that too.

Speaker 1 (38:23):
I feel like the South is sort of like that,
Like there's like yeah, which again there's a huge tradition
of like the Southern Gothic there where it's this whole
like we think it's this ideal, like amazing place that's
super positive and sunny and wonderful, but tho it's actually
like fucked up. That's what I think LA and the
South have in common. But that's what I think makes
La fascinating. And from in the lens of Fille Noir,

(38:45):
that's what makes it fascinating is that it is weird
and scary and fucked up, and there are people running
around shut you know, shutting people's hands, drawers and opening
glockers at the Hollywood Athletic Club. Let's I want to
talk about the ending of Yes Please, which I'm gonna

(39:08):
say spoiler lord, But this movie came out a.

Speaker 2 (39:11):
Lot seventy years ago, literally seventy years ago, so I think.

Speaker 1 (39:16):
We're allowed to reveal the ending of Kiss.

Speaker 2 (39:18):
We're outside the window.

Speaker 1 (39:20):
What did you think of it?

Speaker 2 (39:22):
Okay? So I had one one question I guess I had.
So there's this mysterious package that's everyone wants to get
their hands on. And Christina, the woman who is killed
at the very beginning that they picked that Mike Hamer
picks up in his car. She is kind of course Leachman.

(39:42):
He finds this package through you know, investigating her past basically,
and he opens it up. He finds it in a
locker at the Los Angeles Athletic Club and he opens
it up and it is it's kind of like in

(40:03):
pulp fiction when they open up the briefcase and there's
a bunch of light coming out. It's like that, but
it's like or like the Arc of the Covenant in
Indiana Jones, but it's like bright light comes out of
it and he's like ah, and he like burns himself
and closes it back up. And when that happened, I
was like what is that? I was like, is this

(40:26):
like a fantastical element that I'm unclear on what it is?
But no, it's like radioactive material, I guess, presumably to
make some sort of bomb, right, And that's where sort
of the Cold War, it's what they would.

Speaker 1 (40:43):
Call it's what they would call a MacGuffin. Sure, you know,
it's like this thing that everybody's obsessed with getting. You
don't know what's in it, you don't know what it is,
and then when you find out what it is, you're like, oh,
what is that? Are you serious? Because you have to
understand that again, we're in this sort of like Cold

(41:06):
War era. We're very worried about nuclear weapons. We're talking
about like there there's a mention of the Manhattan Project
in Los Alamos and things like this. In the actual
plot of this film, they actually say the words Manhattan
Project and Lost Alamos, So you're like, oh, this is
nuclear this is something that is being blown up in

(41:27):
the desert and going to cause great destruction, and it
happens to be in a box in a locker at
a gym.

Speaker 2 (41:34):
In a suitcase in it. Yeah, it was It sort
of felt like they didn't do any scientific research on
what like radioactive material looks like, because I was like,
I don't think that little leather actachet would like, uh,
protect anything from like radioactive material. And I don't think
like like if that's like plutonium, it's not just like

(41:58):
bright and shiny.

Speaker 1 (42:00):
And there's this there's this moment where when my camera
finds it, he like finds it in the lockery, opens
it and cracks it open, and it's like, ouch, oh
my gosh, the hand this bird. I'm like, oh no,
you would be blown to fucking smithereens dog and you
would just have like a little rash. I mean, this
is like the implications of what this could be are
so huge that it gets really simplified.

Speaker 2 (42:23):
Yes, sure, Noble. I was like, that's not what happens,
you know.

Speaker 1 (42:29):
Uh.

Speaker 2 (42:31):
But then the end so there, I don't even know
how to explain this, but like he finds Christina's roommate,
who it's very The plot is very confusing too. It's
hard to follow. But the roommate isn't who she says
she is, and she's also after this nuclear material. And

(42:55):
the end is her opening up the suitcase because she's
not sure what it is either, right right, and she's
like he's like, don't open that up, and she's like,
I want to open it because she knows it's worth money.
But she opens it up and absolutely gets exploded and
like caught on fire and it's insane.

Speaker 1 (43:20):
Yeah, it looks like the end of Who Framed Roger
Rabbit or something like.

Speaker 2 (43:24):
It's like, I mean, it's kind of like in Indiana
Jones when the ARCNNA Covenant is like blasting people and
they're like exploding sort of, and like that the house
they're in catches on fire and explodes.

Speaker 1 (43:37):
I mean it's wild. It's wild stuff and it's like
so insane. But she like, yeah, she gets obliterated basically,
and you're like, oh, this like simple little thing and
it atteshe is a blue like ripping the skin off
of this poor woman. And then they're.

Speaker 2 (43:58):
Just opening the little flap on the ad is enough
to like like it's so crazy.

Speaker 1 (44:06):
I think that's ultimately like why I appreciate this movie
so much, just because it does have this like bizarre ending.

Speaker 4 (44:11):
You know.

Speaker 1 (44:11):
Again going back to like what we're talking about, Like
in terms of this era of Hollywood, I mean, there
was like so much paranoia. McCarthyism was insane. Like if
you think about that, like in the ways that there
was like Blacklist and sort of you know, the ways
in which like there were people just basically like unable

(44:33):
to work because they were you know, affiliated, and there
was just like a witch hunt going on, and it
was just like this crazy time. So it was this
you know, there was an inspiration for a lot of movies.
I mean, like and we taught and not just film
in the war. I mean you think about movies like
Invasion of the Body Snatchers, It's like those these are
movies that are all about this sort of like paranoia,

(44:55):
this sort of the themes of like loyalty. Are you
with us or against this? Are you American or un American?
Are you you know, gonna comply or are you gonna
be you know, you have your own mind and do
your own thing.

Speaker 2 (45:11):
I mean it was very it could be anybody too.
It's kind of like it could be your girlfriend who
could turn against you. You know, it's anybody, it could
be your enemy.

Speaker 4 (45:20):
Yeah, and I feel.

Speaker 1 (45:22):
Like, dare I say, we're sort of in another high
key paranoid moment right now in the world and in
our country, certainly in America, where I feel like, yeah,
we're like back to square one in that way. You're like, oh,
there are people who are actively like there are witch
huts happening. There are you know, like there's paranoia, there's

(45:45):
like loyalty tests, there's all the shit that's happening in
the same way that was happening you know back in
this era, and the Kiss Me Deadly are Yeah. So
it's just interesting how cyclical things are and how movies
become relevant.

Speaker 4 (45:58):
Again you know.

Speaker 1 (46:00):
Yeah.

Speaker 2 (46:00):
I mean Nikki Glazer, the comedian. I was just watching
an interview with her, and she was saying a lot
of comedians who tour abroad when they come back into
the country, a lot of them are being asked like,
what do you do for work? Your comedian? In your set?
Are you critical of the president? You know, it's like
nothing has really happened, but they're asking those types of

(46:23):
questions again. Yeah, you know, those loyalty tests and yeah,
I think we're right back at it.

Speaker 1 (46:31):
Yeah, and so who knows, I mean, maybe we have
another you know. I like to call them these like
proliferations of themes in films, like where you have over
a course of like maybe five ten years, you know
a lot of movies that are grouped together that have
similar traits, and I feel like maybe this is another
Well maybe we're going to move towards another one of these.

Speaker 4 (46:52):
Eras you know.

Speaker 1 (46:53):
Who knows. But but yeah, I just think this is
just such a fascinating little micro genre. Like I said,
there's a ton of movies you can actually go online
and people have compiled lists on Letterbox especially but also IMDb.
But before we wrapped this section up, I wanted to
talk about Ralph Meeker because he is an actor first

(47:16):
of all, Like I think that he's really unknown in
the larger scheme of Hollywood. Like it's kind of like, yes,
you know the Bogers and the Henry Fondas and you
know whomever, like the you know, carry grants. But like
Ralph Meeker was like a he seems like kind of
an odd guy in a way.

Speaker 2 (47:38):
He I'm fascinated by him. Yes, uh, I thought he
was really great in this. I mean he totally carried
the movie. He feels like a movie star, but he
also feels kind of regular. Yes, I don't know. He
played a very realistic asshole in a way that like.

Speaker 1 (47:56):
Without kind of the charm.

Speaker 2 (47:59):
Yeah, like he didn't have that kind of like like
Carrie Grant can play an asshole, but you're like, it's.

Speaker 1 (48:04):
Cue, Oh yeah, he's so charming.

Speaker 2 (48:06):
He's so charming and handsome, where like Mike Hamra is
just kind of like a dick. And he kind of
gave me a little bit of I thought he kind
of looked like Timothy Oliphant. Is that crazy to say?

Speaker 1 (48:20):
No, he kind of It's like a I can see that,
like a Timothy Oliphant meets almost kind of like a
Charlton Hesteny look. Yeah, like those eyes. I Ralph Meeker
is very interesting to me because again, I think he
is an actor that probably is like if you were

(48:40):
just doing like a real quickie little review of classic Hollywood,
he probably wouldn't be like one of the first guys
you'd think of, although you know he sort of was.
Famously he's like the guy like after Brando played Marlon
Brando obviously, played Stanley Kawalsky and Street Cardime Desiron Broadway.
He was a guy that placed him, so he kind

(49:01):
of like was famous for playing, you know, Stanley from Streetcar.
He was also in this Great Fantastic Movie, which was
actually the movie that was called this before the Jonathan
Demi version, which is Something Wild.

Speaker 4 (49:19):
Nineteen sixty one.

Speaker 1 (49:21):
Is that right?

Speaker 2 (49:23):
That's correct?

Speaker 1 (49:23):
Hey, nineteen sixty one. I knew that's like my party
trick is doing. Honestly, I think it's because I worked
at TCM for so long. It's like I sort of
note release years for all movies. But it's impressive, thank you.
But yeah, so he was in that kind of like
Something Wild nineteen sixty one and Something Wild nineteen eighty

(49:45):
six don't really have much in common, but like Ralph
Meeker was in that original one, and he was also
in pass of Glory Kubrick's Passive Glory. But I think
for people oris for people kind of more modern audiences.
He was sort of the insp for Rick Dalton, which
was the Leonardo DiCaprio character, and Once upon a Time

(50:06):
in Hollywood and Tarantino, from what I've read, was a
huge Ralph Meeker fan or is a huge Ralph Meeker fan,
and so he was like the inspiration for that character,
which is interesting because I gotta say, I think Rick
Dalton's my.

Speaker 4 (50:18):
Favorite character in that movie.

Speaker 2 (50:20):
So oh yeah. It is interesting though because kind of
like Leo's character and Once upon a Time in Hollywood,
It's like Ralph Meeker died when he was sixty seven,
which is like pretty young to die, but he was
kind of his career had been over for like a
long time at that point. Like it's just sort of

(50:42):
interesting how at this time it's harder to have a
long acting career, you know, like there are so many
actors now at sixty seven who are like getting so
much work, you know, but like he was just not
able to keep going for whatever reason and then he died.

Speaker 1 (51:04):
Yeah, and I think that's kind of like what what
Once upon a Time in Hollywood certainly was trying to
sort of address.

Speaker 4 (51:12):
Was this idea of like.

Speaker 1 (51:13):
An actor who was sort of out of fashion by
the late sixties and was sort of like not knowing
his place because he was like, you know, he was
known for playing tough guys or was sort of like
a man's man, but then was like now kind of
cooked if you will buy the industry. Yeah, and so
he's just like, well, now what do I do because
I'm not like a hippie. I'm not hip, but i'm

(51:35):
you know. Also, the stuff that made me famous is
no longer cool, so I don't know what to do,
and which you know, is like an eternal problem for
middle aged people is how to be how to be
when you're middle aged. But Ralph Baker to me is
interesting and you're you're so right. I mean, he has
this like macho quality. He's blonde, he's hunky, he's like

(51:58):
but then he's not like kind of I don't know,
like a dandy or like Carry Grant or even like
got that little wink that like Paul Newman has or something.
He's just kind of like, I don't know, kind of
like what you see is what you get kind of guy.
And it's very He's very interesting to me.

Speaker 2 (52:14):
So yeah, well fabulous. I mean, I this made me
want to watch more noir, yes, because I've seen some,
but it is just kind of like it's like stepping
into a bubble bath. I mean, it's just like it's
so it just has this velvety feel to it and
it just is so moody and fabulous and I love

(52:37):
seeing all the old La stuff and yeah, no, I
really it's kind of got me inspired.

Speaker 1 (52:45):
Well, I mean to be honest, I mean, you're a
big David Lynch guy, like you gotta watch this stuff.
It's like part and party of everything. It's connected blue velvet. Yes,
I love Noir. I feel like it is exactly I said.
It's this warm bath, but it's also this like you're
with the scumbacks. I love it. It's like the you're

(53:07):
kind of in these dark worlds and there's like shady
characters and great lines, great smoking, great like weird blocks
with character actors galore. If you're a character actor fan,
noir is your fucking ticket, baby, you'll love it so well.

Speaker 2 (53:23):
You know, it's almost like and I think Inherent Vice
kind of touches upon this fill. Noir is kind of
a slacker genre because usually the lead characters have kind
of failed out of something and they have a lot
of time on their hands and they're kind of just
bumming around and they're bored a lot, and they find
themselves in dangerous situations, but like in the meantime, they're

(53:47):
kind of just hanging out at their apartment or getting drunk,
and that's kind of a fun like world to like
step into. It's like this sort of slacker genre.

Speaker 1 (53:58):
Yeah, it's it's lovable loser at the end of the day,
that's all. It's about people who have nothing to lose
and they're like, you know, basically down and out and
they got like one shot at redemption type of thing.
I mean, who can't sympathize with that in a way,
Like I just feel like that's such an interesting place
to start from a character perspective. And I don't know,

(54:21):
I like an underdog. I always have. So that's why
I like noir.

Speaker 2 (54:25):
Yeah, fabulous, And please listeners out there, don't if you
have radioactive material in a little leather case, you know,
just dispose of it properly and don't don't don't open
it in a beachside house that could explode.

Speaker 1 (54:47):
Bring it to the place where you work out. Come on.

Speaker 2 (54:50):
Yeah, exactly, have a.

Speaker 4 (54:52):
Little tact if you will.

Speaker 1 (55:03):
Millie.

Speaker 2 (55:03):
This segment is called build a Noir. Now we've been
to build a bear. I have a daughter. We built
a bear on her birthday. You know, you kind of
select the items that go on the Teddy bear.

Speaker 1 (55:17):
You can get really pricey, right, it can get really pricey.

Speaker 2 (55:21):
But we went on her birthday, so she got a
free bear, so we had the very cheap, cheap version.
So yeah, it can get kind of pricey. But it
was a fun experience for us and for patients. So
you know, there's just a lot of things that kind
of go into it typical noir kind of like we
touched upon already, and I'm just gonna like kind of
like ask, you know, give you prompts and see like

(55:43):
we can kind of build the noir off of this
and sort of see what kind of story we get
into here. Does that sound okay?

Speaker 4 (55:49):
That sounds amazing.

Speaker 2 (55:51):
Okay, So first of all, we have to pick a location. Now,
we talked about this a little bit. A lot of
them are set in La but they can be set elsewhere.
Where would you like to set this film noir? I
was thinking about that, there's your perfect film noir set.

Speaker 1 (56:07):
I personally think it's got to be in one of
the house at LA houses. You know, La is very
famous for modernist architecture. They've shot a lot of new
they've shot a lot of new and a wars in
this house. But they also there's a lot of other
movies shot here, but there's this Frank Lloyd Wright house
called the Ennis House.

Speaker 2 (56:27):
Oh yeah, and it's very famous.

Speaker 1 (56:29):
I'd say it's one of the most famous houses in
LA wouldn't you say? Oh, definitely.

Speaker 2 (56:34):
Yeah.

Speaker 1 (56:35):
It's got this like crazy it kind of looks like
an ancient temple or something. It's made of, like you know,
it's like, what do they call it Mayan revival? Is
that the type of architecture? But you know, it's like
anytime you've seen a movie from like the eighties or
nineties and there's a villain that has like a layer
or something that's like, this is the house.

Speaker 4 (56:56):
That they filmed it in? Right? Yeah?

Speaker 1 (56:58):
I would like Blade Runner and like what's the Vincent
Price movie House on Haunted.

Speaker 2 (57:03):
Hill or sometimes House on Haunted Hill is set there? Fabulous? Okay, great,
the Ennis House. I love this, that's one of them. Okay, fabulous.
And who do you want to play your leading man?
Do you have a do you have a favorite noir
leading man?

Speaker 4 (57:19):
Why are you asking me this question? What?

Speaker 1 (57:22):
I because I have too many? I know, I know,
I've talked about Sterling Hayden many times before. Sure, I'm
actually not gonna go. I've talked about God, I've talked
about Robert Mitcham, I've talked about.

Speaker 2 (57:38):
Does it bother you that Sterling Hayden kind of squealed
on people during like the Huac.

Speaker 1 (57:43):
Yeah, there's a lot of people that did. Like this
is I know, it's so hard you go back and
you read like you know stuff about you know some
of these This is the thing I think that makes
this ara so fascinating is that there were so many
people that were like part of part of Snitch and
part of not Snitch, And I mean it's it's it's
really crazy and yeah and yeah, it bums me out

(58:07):
whenever I do hear of old actors that participated, Like
wasn't Ward Bond this like classic like Snitcheroo, Like he
just was like, oh, I don't know about that, hugely
like and he's in one of my favorite movies of
all time, Johnny Guitar as is Sterling hated. But you
know it's like he was like the king of them.
I mean he was like really really.

Speaker 4 (58:29):
Right wing from what I heard.

Speaker 1 (58:31):
I think my choice ultimately it's a Chicago guy. I
have to go with Robert Ryan to me, Robert Ryan
is like the perfect mix. Like I see him as
this real hard boiled meani, but he's actually a big.

Speaker 2 (58:52):
Softy And what were some of the what are some
of the big movies he was in. Was he in
the Wild Bunch?

Speaker 1 (58:59):
Yeah, he was it his well, his most famous I
would say he was in a lot of famous noirs.
He was in Act of Violence. His one of his
best noirs was called The Setup from nineteen forty nine,
where he played this like down down and out, down
on his luck boxer. But he was in a ton

(59:21):
of stuff. He was in a lot of Nicholas Right movies.
He was in on Dangerous Ground. But then he kind
of did Westerns at the same time, and then like
later in his career did a lot of Westerns and
a lot of I don't know, action adventury type movies.
But you know, it was like he was kind of
famously like a man of few words type of thing.

(59:42):
Like there was a thing in the Chicago Reader, I
want to say, like maybe ten years ago where he
was kind of this like actor that was just kind
of doing his job, and he was kind of just
like never really in the press. He's just kind of
like a straight laced type of dude. And then his
kids found a letter that he had written them and

(01:00:03):
was basically like, here's my entire life, here's every detail
I never told you about myself.

Speaker 2 (01:00:10):
Whoa I know?

Speaker 1 (01:00:12):
And they I think they published a lot of it
in the Chicago Reader, and like his kids were interviewed
and stuff, just like one of those stories. It's like
really fascinating. It's like getting to know your dad after
he died a letter.

Speaker 2 (01:00:24):
That's crazy.

Speaker 1 (01:00:24):
But I love him. He's, like I said, he's he's
played huge assholes, but I actually think he was a
sweet man in real life. And he was not Ward Bond.

Speaker 4 (01:00:35):
I think he was pretty progressive.

Speaker 1 (01:00:37):
So cool.

Speaker 2 (01:00:39):
Yeah, and what's his occupation in this movie?

Speaker 4 (01:00:42):
Oh god, oh gosh, oh gosh.

Speaker 1 (01:00:44):
What could he be? I mean, he's always been a
he could have been a private eye. He could be
a crooked lawyer. What are some other types film the
war types? A bookie? He could be like a fucked
up kookie. Is there?

Speaker 2 (01:01:00):
Like author? Is that one? Like a writer?

Speaker 4 (01:01:03):
Yeah?

Speaker 1 (01:01:03):
I mean you've got like what Sunset Boulevard type of vibes,
like a journalist, a screwed up journalist, or maybe like
a like in Sweet Smells of Success, he's like a
fucked up pr guy or something like I actually love
like a card player like and I think it's because

(01:01:25):
I like California Split so much. Uh So, maybe just
like a card player gambler, gambler that owes a lot
of money, owes a lot of money.

Speaker 2 (01:01:36):
Sure, Okay, so that's what it leads into my you know,
like my next category tragic backstory for our leading man.
Uh maybe there could be something about like owing money,
you know, something like that.

Speaker 1 (01:01:48):
Do you have anything other?

Speaker 2 (01:01:50):
Yeah, anything else to flesh that out?

Speaker 4 (01:01:52):
He would.

Speaker 1 (01:01:53):
Yeah, I'm trying to think of what are some classic predicaments.

Speaker 4 (01:01:58):
Oh.

Speaker 1 (01:01:58):
A lot of it is, oh money to like, you know,
mob bosses. There's also the like trying to make money
for a wife that he never married or something. You
know what I mean, was like trying to get the
girl back type of scenario. But he's down and out.
Maybe there's like an estrange child thrown in the mix.

(01:02:22):
I don't know. I feel like that's probably his tragic backstory,
is that he owed he was a good guy. Maybe
like an ex military that came home from the war,
couldn't find his footing, got involved in playing cards for
money and then owed a shit ton to this Edward G.

Speaker 4 (01:02:42):
Robinson type. Does that work?

Speaker 1 (01:02:46):
Very good? Okay, good, Yeah, that's great.

Speaker 2 (01:02:49):
This is great, and this is all going right into
final draft. Okay, yeah, okay. So then there was like,
this is sort of a weird question, but like the
little crime that leads to a bigger crime. It seems
like the noir's there's always like something small that is
just kind of the seedling, the mustard seed that grows
into something larger. Do you have any sense of what

(01:03:11):
that could be the small crime? Maybe it could be
around a card game or something.

Speaker 1 (01:03:16):
Well, there's obviously the like accidentally running into naked woman
on the side of the road. Sure there's finding finding
piles of money or attache cases or yeah, finding uh
a finger or a foot. Maybe maybe we should go
that direction. They're like, you know, like almost in sort

(01:03:37):
of that like John Sales Lone Star predicament, where it's
like I'm in the I'm out in the desert and
I found a it wouldn't be yeah, I wouldn't be desert.
So maybe they're walking around low s Fife in LA
and there's a finger, a thumb, a thumb is good.

Speaker 2 (01:04:04):
A thumb there's an important you know one.

Speaker 1 (01:04:09):
Yeah, there's a thumb that appears when he's stumbling out
of a diner at three o'clock in the morning.

Speaker 2 (01:04:16):
Stumbling out of Fred sixty two.

Speaker 1 (01:04:18):
Maybe I'm gonna go House of pies.

Speaker 2 (01:04:22):
But you know what house of pies?

Speaker 1 (01:04:23):
Yeah?

Speaker 2 (01:04:23):
Sure, okay, google cool? And then uh fe tale, who
could that be?

Speaker 4 (01:04:28):
Oh god, who could it not be?

Speaker 1 (01:04:32):
I I mean you got Gloria grim I love Rita Hayworth.

Speaker 4 (01:04:38):
I think she's, like, you know, in Guilda.

Speaker 1 (01:04:40):
She's kind of like a redhead, and like like a
fem fatali redhead. I would go somebody a little bit
more butch, to be honest, okay, Like and when I
say butch, I don't mean like you know, I'm not
saying that like we're gonna go. I don't want to
go classic pretty girl. I like somebody with a little

(01:05:01):
edge to them, maybe like an idle Lupino or like
a I want to say, Mercedes McCambridge, someone that little
less pretty angelic and more like harder edged. Let's go
with Idelupino.

Speaker 4 (01:05:17):
Yes, let's do that.

Speaker 1 (01:05:18):
Robert Ryan and Idolopino have already been in a movie together,
so you know, no, this is perfect.

Speaker 2 (01:05:22):
Yeah, any sort of historical backdrop to what's going on.
You know, we talked about the Cold War, but like
a lot of times, it seems like there's sort of
leaks in historical things, World War two, you know.

Speaker 1 (01:05:37):
That type of stuff. Let's go up with something funny.
What happened, what happened in the forties that was funny?

Speaker 2 (01:05:44):
What happened in the forties that was funny. Oh, that's
a good question.

Speaker 1 (01:05:49):
Nothing, it seems like nothing funny.

Speaker 2 (01:05:50):
Yeah, maybe like the invention of television or something.

Speaker 1 (01:05:54):
Yes, maybe it's what did like potato chips get invented
or something. I don't know, maybe like a famous potato
chip that was around in the nineteen forties. Oh, the
bikini made its debut as a fashion statement in Paris
in nineteen forty six. Maybe the invention of the bikini
that becomes a thing I like this.

Speaker 2 (01:06:12):
Yes, maybe maybe there could be some sort of like
you know, a bikini, something's getting smuggled inside of the
stitching of a bikini or something and somebody has to
wear it, you know, something like that.

Speaker 1 (01:06:25):
Yeah, maybe the uh owner, the owner of the first
bikini factory is owed money in a card game by
Robert Ryan, and then, oh my god, we can have
this huge end sequence that happens in a bikini factory.
It's like at the like a cup Brickian type of like.

Speaker 2 (01:06:44):
With the with the mannequins, like, yes, a room full
of mannequins.

Speaker 1 (01:06:48):
Bikinis on, God, come on, it writes itself.

Speaker 2 (01:06:50):
It writes it damn self. Okay, does this movie have
a tragic ending or a non tragic ending? Oh god?

Speaker 1 (01:07:00):
I mean, I feel like so many Robert Ryan movies
end so badly that I just.

Speaker 2 (01:07:04):
Want him to Actually felt like kiss Me Deadly was
not a tragic ending. I mean the two are two
leads essentially got away.

Speaker 1 (01:07:13):
I mean he got shot though, yeah, but I.

Speaker 2 (01:07:16):
Think he's gonna live. I feel like that was sort
of the implication he's going to.

Speaker 1 (01:07:20):
Go back to his apartment and remove his own bullet as.

Speaker 2 (01:07:23):
We all know, yes, and uh, I mean he'll probably
get cancer from the getting burned by radiation within a
few years.

Speaker 1 (01:07:34):
Well, I want I personally want Robert Ryan to win one.

Speaker 2 (01:07:38):
So I feel like it should be good, good, non tragic.
I like that, you know, and kiss Me Deadly did
you like his answering machine. That was pretty cool. I'd
never seen like such a fancy answering machine on the
built into the wall.

Speaker 1 (01:07:51):
Yeah, well I that's yeah. I actually thought to myself,
was he one of the first answering machine guys? Right?

Speaker 2 (01:08:01):
It was funny because it was like he'd listen to
the message and then he'd pick up and I was like, oh,
that was happening then too.

Speaker 1 (01:08:07):
I guess I don't want to were you're screening or calls.

Speaker 2 (01:08:10):
You're like, I don't want to ask this.

Speaker 4 (01:08:11):
Oh wait a minute, I should.

Speaker 1 (01:08:13):
Yeah, sidebar, where are you? Are you old enough? I
just want to ask to have heard and enjoyed the
song kiss Me Deadly by Leada Ford.

Speaker 2 (01:08:24):
I know Lea Ford, uh huh kiss because that was.

Speaker 1 (01:08:27):
One of my favorite songs when I was like nine
years old. And that is basically the entire reason why
I even know this movie.

Speaker 2 (01:08:36):
You know, I must say, I'm not totally familiar with
this song.

Speaker 1 (01:08:39):
My god, we're to buddyle sat it in that.

Speaker 2 (01:08:44):
This is good.

Speaker 1 (01:08:44):
Come I'm listening. I like this. Kiss me once, come
old baby.

Speaker 4 (01:08:49):
Kiss me Deadly?

Speaker 1 (01:08:51):
Come on, you don't remember this. She's like riding on
the floor and like her like, yeah, I'm seeing sunset
strip bikini underwear, Like yeah, anyway, that's that's how I
even knew the term kiss me deadly enough to want
to watch the movie.

Speaker 2 (01:09:09):
Of the same names, Leader Forward, thank You, Thank you
for your service. Uh.

Speaker 1 (01:09:15):
Could she be the movie at some point? Could she
come in later?

Speaker 2 (01:09:17):
That would be great. I'd love that. Okay, maybe she
could be the bikini factory owner.

Speaker 4 (01:09:25):
Uh.

Speaker 2 (01:09:25):
Do we have a title for this?

Speaker 1 (01:09:27):
Oh, it's got to be something fucking good, because this
is like one of the things about film in the
WIR that I love of these fucking film noir titles. Yeah,
like some of my favorites. There's a movie called Kiss
the Blood Off My Hands. Kiss the Blood Off My Hands.
I mean, is that not sexy. There's also a movie

(01:09:48):
called I Wake Up Screaming.

Speaker 2 (01:09:53):
Like I mean, I could go on.

Speaker 1 (01:09:55):
There are so many great film the war titles. There's
also one of my favorite that I actually saw at
Noir City in San Francisco many years ago, hosted by
Eddie Muller. It was a movie called It was about libraries,
and it was called Quiet Please Murder. I mean, come on, okay,

(01:10:18):
let's think about this.

Speaker 2 (01:10:19):
Because let's think about this.

Speaker 1 (01:10:22):
We've got bikinis, we've.

Speaker 2 (01:10:24):
Got bikinis, we've got gambling. What about this? Okay, this
kind of something, this is stupid, like something that combines
the bikini and gambling, like bikini's bluff or something like that,
or like.

Speaker 1 (01:10:40):
Yeah, it would be yeah, something like like I married
a bikini cheater or something like it would be something
like long and stupid like that, or like he folded,
No it would be or you know, he bet on
bikini or something like that. Don't don't bet on a bikini?

(01:11:03):
How about that? Don't bet on a bikini.

Speaker 2 (01:11:06):
Don't bet on a bikini?

Speaker 1 (01:11:07):
Okay? I like it.

Speaker 4 (01:11:10):
So stupid?

Speaker 2 (01:11:14):
Uh? Okay, anything else, Millie that you want to add
any add on any any? I missed one? I missed one.
Funny little buddy who plays a funny little buddy?

Speaker 1 (01:11:28):
Fuck a funny buddy? Why are you asking me this?

Speaker 2 (01:11:32):
It seems like every film noir there's like a funny
little buddy that dies.

Speaker 1 (01:11:35):
Oh yeah, you gotta have like your Claude Rains, you know,
Peter LORI like your little short guy.

Speaker 2 (01:11:46):
I really I would have been good as the funny
little buddy. I think that that would have I would
have really killed at that time. You could have crushed
me with a car. You could have you know, thrown
off a bill.

Speaker 1 (01:11:56):
Listen if if if I was at a film noir,
I would own a flop house. I would either be
a prison guard. I'd be a prison guard. I'd own
a flop house. I'd own a laundry matt that is
like a back alley place to play cards. I'd be
called like Big Rita.

Speaker 4 (01:12:17):
Or like.

Speaker 1 (01:12:19):
Anti Anti Anne or.

Speaker 2 (01:12:22):
Something like that.

Speaker 1 (01:12:22):
It would be like some you know, my love. I
fucking love this actor. And he was a big character actor,
Eli Wallack. I know he was in a lot of Westerns,
but Eli Wallack in a noir playing Robert Ryan's funny
buddy fuck with a little mustache. Yeah, you know maybe,

(01:12:43):
I mean unfortunately, Eli Wallack played a lot of Mexicans
and Italians in his life. Uh huh.

Speaker 2 (01:12:48):
I recently saw a movie that he was a played
a yeah Mexican man.

Speaker 1 (01:12:52):
And he could be like Mandy Pittinkin and Princess Brian,
like have a little bit of that like a little
Latin lover vibe and like you just like they get
the bikini today a.

Speaker 2 (01:13:04):
Perfect there you go kind of offensive.

Speaker 1 (01:13:07):
An accent, so I can do it. I half to wonderful. Well, Milly,
I think we built our little film noir as for
add ons, I don't know what to like some seasonings.

Speaker 2 (01:13:21):
I don't know what some seasoning you have some flair.

Speaker 1 (01:13:24):
Yeah, I do think the nuclear bomb thing is really funny.
Uh maybe an alien, Maybe an alien can just come
down from the sky.

Speaker 2 (01:13:35):
I love that film Noir Alien because that, you know,
that's kind of like what the X Files is a
little bit.

Speaker 1 (01:13:40):
Like maybe the aliens are horny and they're like, oh,
we heard their bikinis down here.

Speaker 4 (01:13:45):
We need to learn about them.

Speaker 1 (01:13:47):
Sure, horny aliens is my seasoning case.

Speaker 2 (01:13:53):
Wrap it up, put it.

Speaker 1 (01:13:55):
In, put a bow on it.

Speaker 2 (01:13:57):
Money horny Aliens.

Speaker 1 (01:13:59):
I love it.

Speaker 2 (01:14:02):
Awesome. Well, thanks for playing a long Millie on Bill
de Noir.

Speaker 4 (01:14:06):
I can actually do this all day, so thank you.

Speaker 2 (01:14:18):
Moving on, we have our employees picks film recommendations based
on the theme of the discussion today. Today was an
all film Wir episode.

Speaker 1 (01:14:28):
Well, I'm actually going to go a different route if
you don't mind. Ooh, I don't, because we are talking
about movies that were made in this sort of like
red Scare era in Hollywood. So there is a movie
that is not technically in a war. It's mostly a
children's movie. It's kind of a fantasy film, to be honest.
It is a movie called The Boy with Green Hair

(01:14:49):
from nineteen forty eight. It was directed by one of
my favorite directors of all time, if not well, he's
in the top three, Bear Men's Joseph Losey, whom was
blacklisted and was sent to Europe to make art films
with Elizabeth Taylor and Richard Burton. So he won essentially,

(01:15:14):
I think sure. But it's this movie that stars the
adorable little baby at this time Dean Stockwell King, an
absolute king.

Speaker 2 (01:15:30):
R I P.

Speaker 1 (01:15:32):
Why is he still alive? No, he's got No, he's dead.

Speaker 2 (01:15:37):
Yeah.

Speaker 1 (01:15:37):
So he essentially plays this little boy who wakes up
one day and his hair is green and he doesn't
know why, and he's just like, my hair is green,
and then everyone's like, why is your hair green?

Speaker 4 (01:15:53):
Boy?

Speaker 1 (01:15:53):
That's weird, You're weirdo. But he has this sympathetic ear
who is actually a pillar played by Robert Ryan, who
we just talked about my favorite film, noir guy in
the Star of Don't Bet On a Bikini. He plays
this kind of like advocate because this boy is having
issues with getting picked on for being different, and the

(01:16:18):
movie is essentially an allegory for being different in the
era of McCarthyism and the Red Scare because again, Joseph
Flosi was exiled. So it's like it's kind of again
like a movie that's about this topic, but is obviously

(01:16:38):
like not in a war. It's more of a kid's film.
But that is my recommendation. It's a very good movie.
And I feel like as a kids movie, you're like,
holy fuck, this is pretty pretty good and pretty powerful.

Speaker 2 (01:16:51):
So very good.

Speaker 4 (01:16:52):
Yeah.

Speaker 2 (01:16:53):
Dean Stockwell, what a career. I mean, I kind of
forget he was like a child actor and he had
this incredible later half of his career with some of
the best movies ever made.

Speaker 4 (01:17:06):
He's the best.

Speaker 2 (01:17:07):
Wow, he's amazing. I am going to you know, I
am not well versed in film noir, but I do
want I want to be I want to be better.
Maybe I should study under Josh Fatum. And there's this
movie that is I would say is a noir, but

(01:17:28):
is so I feel like it kind of takes out,
It sort of takes out like the private eye or
like the main character having any sort of drive, and
it just includes kind of all the like slacker conspiracy elements.
And that's a movie. And I don't even know if
I consider this a great movie, but I enjoyed it
and I thought it was a big swing. Under the

(01:17:50):
Silver Lake from twenty eighteen with Andrew Garfield. Did you
ever see this movie, Millie, No, I have not. It's
very bizarre, but it's like LA celebrity conspiracies and there's
like this slacker guy played by Andrew Garfield who's like
a out of work actor, and he meets this mysterious

(01:18:13):
woman who's in his apartment swimming pool, and then she
vanishes and he kind of is like seeking after. He's
trying to find her the rest of the movie and
he runs into all these bizarre characters and he's kind
of gross. But it's a great LA movie. It's very

(01:18:36):
surreal and strange, and it's kind of unlike any other
movie I've ever seen. It's directed by David Robert Mitchell,
who did it follows.

Speaker 4 (01:18:45):
Huge when it came out.

Speaker 2 (01:18:47):
Uh So, yeah, I'll say Under the Silver Lake pretty good.

Speaker 1 (01:18:51):
I like a neo noir or like a.

Speaker 2 (01:18:53):
Throwback a neo noir. Yes, all right, that's sort of
that's our show this week, Jeff fun, Thank you, mill.
I had a lot of fun. I love watching this movie, truly,
I really had a blast.

Speaker 1 (01:19:13):
So when I saw you rate it on letterboxed highly,
I was like, I did it. I did it.

Speaker 2 (01:19:17):
You got him, got him?

Speaker 1 (01:19:19):
Uh. Well, I'm glad, and I can't wait for next week.

Speaker 2 (01:19:23):
By the way, next week we are on hiatus.

Speaker 1 (01:19:26):
Well that's why I can't wait.

Speaker 2 (01:19:27):
But the week after, but the week after I also
can't wait for that. Do you want to tell him
what we're talking about?

Speaker 1 (01:19:36):
Yeah, I feel like you have a personal stake in this,
just because you're a Minnesota boy. But we're going to
talk about this movie that you may have heard of
called Purple Rain from nineteen eighty four. We're going to
get into it, get into everything. Prince. Yeah, let me
talk about your hometown a little bit.

Speaker 2 (01:19:57):
Well, I live less then a mile away from the
house that Prince lives in in that movie. So I
feel like I should film something in front of it.

Speaker 1 (01:20:09):
I think you should.

Speaker 2 (01:20:10):
I think you should do the podcast from it. If
you can record the episode right in front of on
the lawn.

Speaker 1 (01:20:15):
Yeah, I think that's a good idea.

Speaker 2 (01:20:16):
Can't wait. I can't wait to rewatch it too. It's
been a while since I've seen Purple Rain, so that's interesting.

Speaker 1 (01:20:22):
I watched it probably like every other year or something. Really, yeah,
I've seen it so many times. It usually plays in
the movies like all the time. I don't know why. Yeah,
somebody is always inviting me to a screening of Purple Rain.
I'm like, man, I just saw that movie.

Speaker 2 (01:20:35):
I was just at First af this month seeing a show.

Speaker 4 (01:20:38):
Well, well, there you go, so.

Speaker 2 (01:20:42):
But that's our show. In the future, we'd like to
give out film advice at the end of our show,
So if you need if you need any specific recommendations,
need help navigating a director's filmography, or need a film
gripe resolved, please write in. You can email us at
Deer Movies at exactlyrightmedia dot com, or you can ask
us via voicemail, which we love. We'd love to play

(01:21:04):
the voicemails on the show. Just record record a voicemail
on your phone that's under a minute and email it
to dear Movies at exactlyrightmedia dot com.

Speaker 1 (01:21:14):
Ah right, And if you want to follow us on
social media. We are at Deer Movies I Love You
on Instagram and Facebook. If you want to follow us
on letterbox, our handles are at Casey, Lee O'Brien, and
at m d' jericho.

Speaker 2 (01:21:29):
That's right. Listen to Dear Movies, I Love You on
the iHeartRadio app, Apple podcasts or wherever you get your
podcasts and rate and review our show. We love. We
love when people rate and review our show, particularly when
they say nice things. But yeah, so get out there.
It helps spread the word for the show.

Speaker 1 (01:21:50):
Yeah, we would love it, guys. I mean, let's get serious.

Speaker 4 (01:21:53):
I need you.

Speaker 1 (01:21:55):
I need you to like I need you to like me.
I need to like Casey and needs you to like us.
We love you.

Speaker 2 (01:21:59):
Know what we have. We haven't received one one love
letter in our email inbox. What so if you want
to write us a love letter, please do so you can.
You can send that to Dear Movies. That exactly right.
Media don't come.

Speaker 1 (01:22:12):
I mean listen, Casey has COVID be nice like feel something,
feel for once.

Speaker 4 (01:22:19):
All right.

Speaker 1 (01:22:21):
On that note, as I'm yelling at our listeners to
love us, feel something, we will see you all in
two weeks. We'll see you all in two weeks, and
don't open suitcases that you don't know what's in them.

Speaker 2 (01:22:34):
If you see them a little glowing coming out of
the suitcase, just keep it closed, keep moving on, Goodbye bye.

Speaker 1 (01:22:45):
This has been an exactly right production hosted by me,
Millie to Cherco and produced by my co host Casey O'Brien.

Speaker 2 (01:22:52):
This episode was mixed by Tom Bryfogel. Our associate producer
is Christina Chamberlain, our guest booker is Patrick Cottner, and
our artwork is by Vanessa Ilac.

Speaker 1 (01:23:01):
Our incredible theme music is by the best band in
the entire world, The Softies.

Speaker 2 (01:23:06):
Thank you to our executive producers Karen Kilgareff, Georgia hart Stark,
Daniel Kramer and Millie.

Speaker 1 (01:23:12):
To Jerico, we love you.

Speaker 2 (01:23:13):
Goodbye, Becer

All Episodes

Episode Transcript

Popular Podcasts

Dateline NBC

Amy Robach & T.J. Holmes present: Aubrey O’Day, Covering the Diddy Trial

Stuff You Should Know

.css-15opob5{left:0;position:absolute;top:0.8rem;} All Episodes

.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Cold War Film Noir & Kiss Me Deadly (1955)

Episode Transcript

Popular Podcasts

.css-r6mb8g{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:1;overflow:hidden;}Dateline NBC

Amy Robach & T.J. Holmes present: Aubrey O’Day, Covering the Diddy Trial

Stuff You Should Know

All Episodes

Cold War Film Noir & Kiss Me Deadly (1955)

Dateline NBC