Frankie McNair and The Sting

Episode Transcript
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Speaker 1 (00:00):
Thank you day, Peter Helly here, welcome to you ain't

(00:02):
seen nothing yet in the Movie Podcast, where our chat
to a movie lover about a classic or loved the
movie they haven't quite got around to watching until now.
In today's guest comedian Frankie McNair, all below, I want

(00:22):
to stay here with you.

Speaker 2 (00:33):
The jobble my hat snake sucked.

Speaker 1 (00:41):
Why hail, it wouldn't happening right, You ain't seen nothing yet.
Very excited they have the wonderful Frankie there joining me
in the studio.

Speaker 2 (01:01):
But you ain't seen nothing yet.

Speaker 1 (01:03):
Frankie is an absolute delight on stage and off stage.

Speaker 2 (01:07):
I perform with Frankie.

Speaker 1 (01:09):
Various different gigs and the Grapes of Mirth the Comedy Republic,
and it's on the share of stage with Frankie. And
if you've seen Frankie do the thing, it's always a
little I'm trying to avoid the term.

Speaker 2 (01:25):
Weird, but it's out there. It can be out there.

Speaker 1 (01:27):
Frankie place is a great character called Tabitha Booth and
like an old Hollywood actress that things haven't necessarily.

Speaker 2 (01:35):
Gone their way.

Speaker 1 (01:36):
And Tabitha is hilarious and if you get a chance
to see Tabitha on stage.

Speaker 2 (01:41):
I urge you to do so.

Speaker 1 (01:43):
If you follow Frankie's Instagram page, you'll see Tabitha pop
up there as well. Frankie one Best Newcomer at the
twenty twenty two Melbourne International Comedy Festival. You would have
also seen Frankie on the ABC's Question Everything Just for laughs.
You also may have seen Frankie on Only Donna's Coffee Cafe.
And she also, which I wasn't less be aware of it,
is a real student of film and has one had

(02:06):
a short film that one called Laundry was runner up
in the Sony Catch Night Film Festival. So I'm really
fascinated to delve into today's film. Frankie is smart, funny, bloody,
delightful and I'm stoked to be hanging with them today.

Speaker 3 (02:27):
Hi, my name is Frankie McNair and my favorite films
ah Casino.

Speaker 2 (02:32):
I'm just curious. I sure you're shuffling your checks with
your right hand? Can you do that with both hands?

Speaker 3 (02:38):
Eighth grade?

Speaker 2 (02:39):
One more week of eighth grade? Right?

Speaker 3 (02:42):
Yeah, it's crazy and nine days.

Speaker 2 (02:46):
Spending this day and note with me, and you shall
possess the origin of all poems.

Speaker 3 (02:53):
But up until recently, I had not seen this sting.

Speaker 1 (03:22):
Yes, Robert Redford, possibly one of the most American looking
men in history, plays a grifter with possibly the most
American grifter name, Johnny Hooker, who unwittingly steals from Irish
mob boss Doyle Lonigan Robert Shaw in fine form. When
Lonigan seeks revenge by killing his partner in crime, Luther,
played by Darth Vader's dad, Robert Earl Jones, it lights

(03:44):
a fire under Hooker, vowing to hit Lonigan where it
hurts most. He's ample Wallet. Wanting to avenge his friend's murder,
Johnny Hooker reaches out to a contact of Luther's Henry Gondorf,
the impossibly blue eyed Paul new the master of the
long con. Together they dream up a masterful con. They

(04:05):
will test their nowse, their skill, their nerve, and their courage.
The Ultimate Sting winner of the nineteen seventy four Best
Picture OSCAR, including six more including Best Director for George
roy Hill and Best Screenplay by David s Ward. The
Sting is pure Hollywood entertainment, with two of the biggest

(04:25):
stars of their day having a great time. Frankie McNair,
have you ever fallen for an elaborate sting.

Speaker 3 (04:32):
Not that I know of, which means that they would
have done a good jog. That's the greatest.

Speaker 1 (04:39):
I love it. Thank you so much for joining us on.
You ain't sing nothing yet. I'm excited for this because
I feel like you play a character I mentioned in
the intro at Tabitha Booth, who could almost fit in
this movie somewhere or this world? So when when? It

(05:00):
only occurred to me when I was watching it, Because
sometimes as I'm watching I'm thinking, well, they have a
connection a way into this film, and I feel like,
and without knowing too much about whether you like the
film or not, I feel like Tabitha may have been
like she does exist in this world.

Speaker 3 (05:17):
Yeah, she exists as someone who is about to ruin
the plan. She exists is someone who is about to
walk in and goes, what don't we do in here, fellers?

Speaker 2 (05:26):
What's going on here?

Speaker 3 (05:27):
Are we doing a sting?

Speaker 2 (05:30):
Yeah?

Speaker 3 (05:30):
She is someone who is about to send everyone to
prison by just getting too excited to be a part
of it. That's her vibe.

Speaker 2 (05:40):
How do we come?

Speaker 3 (05:40):
So?

Speaker 1 (05:41):
I generally I will send the list to my guests
with a whole bunch of films on them.

Speaker 3 (05:47):
There's so many. I was so excited, Oh that's excellent,
so many films on that.

Speaker 2 (05:54):
And you came back with great, you have.

Speaker 1 (05:55):
There's one film that I was wrestling with, which is Magnolia,
which I love. Of listeners of this podcast know how
much I love Paul Thomas Anderson. We kind of I
covered it, not necessarily for this podcast directly, but with
doing film podcasts with Beck and Jade, and it felt
like we'd covered it almost as a sister show, sister
brother show. We'd covered it, so I was very closer

(06:18):
still doing it because I love it so much and
you should really watch Magnolia. Yeah, but this was this
was one. Did you did you kind of check out
the time period? Did you check out the running time?
How did you like? So you know about this film?
What did you know about it?

Speaker 2 (06:31):
No?

Speaker 3 (06:31):
I didn't know about it. I googled it and saw
that it had Robert Redford and Paul Newman in it,
and I went, yes, yes, this one. Please.

Speaker 2 (06:38):
Have you've seen Pocashid in the Sundant Skin of All? Yeah?

Speaker 1 (06:40):
Yeah, so this is like almost it's a brother film
to that companion piece. It's not a sequel, but it's
certainly the filmmakers wanting to pair these two together again.

Speaker 3 (06:50):
Yeah, it felt like there was that period of time
where Owen Wilson and Ben Stella were doing every movie together,
and it feels like they were trying to like do
the same thing of being like, these two have such
good chemistry and every movie they should be in together.
And I think they made the right call.

Speaker 1 (07:05):
Let's talk about how impossibly good looking these men are.

Speaker 3 (07:09):
Dear God. So I watched Butchcasidy in The Sundance Kid
because my partner is like loves movies, like studied them,
like has real uni brain about movies. And I was
really like, I'm like, I don't know if I want
to watch like an old movie. And then we watched
Butch Castidy and The Sundance Kid and I was weeping
by the end, and I was just like, I'm weeping.
But they're so beautiful. And he told me an anecdote

(07:31):
that I haven't fact checked this, but apparently Robert Redford,
who is the most beautiful man in the entire world,
he was doing a scene and it was about like
rejection and he wasn't quite getting it, and they were
like the director came up and was like, all right, Rob,
it's about like you know, like you're you're feeling rejected,
but you understand. And he's like, yeah, I kind of
don't get it. And the director said okay, So like Robert,

(07:52):
like you like, have you ever been turned down by
a woman? And Robert Redford said what do you mean?
He just couldn't comprehend it, and I'm like yeah, because
he's so beautiful. Most of me watching this movie was
just me going, oh my god.

Speaker 1 (08:08):
Well, he wanted to play Benjamin Braddock in The Graduate
and he went to Mike Nichols and said, yeah, I
want I want to I want to do this role.
And Mike Nichols was like, you can't. This is a
guy who is he can't, like he's nervous around women
and he can't.

Speaker 2 (08:22):
You know, we don't even know he's possibly a virgin.

Speaker 1 (08:24):
Like you can't do that. Look in the mirror, Robert,
and he's like, okay, yeah, I kind of get it.

Speaker 3 (08:29):
There was just this scene where he was just sitting
in a chair and I paused it and I took
a photo and I sent it to my partner. It's
just him sitting in a chair. That he's just like
kind of slouched with like his arms back, and I
was like, anyone else tried to sit in a chair
like that? Then called cart what are you doing? Sit
up normal?

Speaker 1 (08:46):
I'm going to try to sit in the chair. We'll
do a comparison. I'll put it on on my socials.
We'll see maybe I can put a laugh. I don't know,
I don't know.

Speaker 2 (08:56):
You were absolutely right.

Speaker 1 (08:57):
After I watched Posa Cassidy, which I watched for the
first time for his podcast that with Bob Murphy x
AFL footballer and dilettante. He the next morning, I was
saying to my wife, you don't understand how good looking
these men are. And I'm googling imaging. Look look look
at their eyes. Even last night I was watching this
thing and with my wife for a bit and I
was like, look at blue Newman's eyes are. They're impossibly blue.

(09:19):
And she's like, they're not that blue, Like human's got
blue eyes. I said, but not early, but later, and
I was getting frustrated. It was like, I'm not sure
it's deliberate. The filmmaker's almost like got his eyes darkened
and you can't quite see his eyes. And then eventually
you have these shots. I think when they're like they've
got that makeup casino that they made up. Yeah, that's
when you really see how blue those eyes aren't.

Speaker 3 (09:38):
Where when he pops, when he has his like his
glam up. I think that Paul Newman has blue eyes
like a husky. Like you know how huskies have those
like kind of hauntingly blue eyes where you're like, those
are the eyes of a person, husky, What have you done?
You're a man trapped in that body of a husky.
That's Paul Newman's eyes.

Speaker 1 (10:00):
Beautiful, they extraordinary. Will talk more about Paul Newman and
Robert Redford without a single doubt. Let's talk about your
three favorite films. I film that has come up a
couple of times now, and I'm embarrassed and I have
not seen it, particularly after I saw Bo Burnham's special
that he.

Speaker 2 (10:15):
Did during Lockdown.

Speaker 1 (10:16):
But eighth grade, I have not seen it, but it's
come up enough times on this podcast in people's favorites.
Tell us about eighth grade.

Speaker 3 (10:23):
Oh my god, there was a brief period of time
I did in my entire life, I've done a semester
of university and I basically the only real UNI assignment
that I did was like an oral presentation, and so
I deep dived into this movie and I love it
so much. It felt exactly like like you're watching it

(10:44):
and it feels like a visceral experience of I was like, oh, damn,
this is exactly what it feels like to be in
high school when you're not a teenager yet but you're
not a kid and you're in that weird in between
stage and like just all those changes are happening and
you just feel so social, like you're just so self
conscious all the time, and he does it so perfectly.
It is upsetting. Like when I was talking about it

(11:07):
at UNI, like a lot of especially dudes, were like, ah,
because there's like one particular scene where she's in a
car and like feeling a bit pressured to like have sex,
but like it ends up working out. But they were like, ah,
that felt a bit like they didn't need to have
that in there. It's a bit far fetched. And I
was like, are you kidding that it hits the nail
on the head of that thing of like it's like

(11:27):
nothing happened, but you still feel horrible, And it was
just Bob Burnham started developing this film because he was
having panic attacks on stage. She had really bad anxiety.
And then he had a lot of teenagers coming to
his shows and he was talking to them afterwards and
he was like, why are teenagers identifying with me talking
about having really bad anxiety? And then he was looking

(11:50):
at social media and he was just like, oh, you're
you always are in front of an audience. You always
have to be on And then it just kind of
delved into him talking about like finding out I have
anxiety because I'm in front of thousands of people. These
kids have the same feeling of constantly feeling watched and
like they have to perform because they are in front
of thousands of people. Potentially, it's such a good movie.

(12:13):
It's so fun. The way that they film it too,
I don't know, it's really heightened in some points and
then in some points it's like really natural.

Speaker 2 (12:20):
Ah, it's yeah.

Speaker 1 (12:23):
I'm embarrassed now because I so many people say to me,
you need to watch this film, and I, like, I said,
I really liked bo Burnham's comedy special he put out
was that called Inside Maybe Oh yeah yeah, and it
was just endlessly creative and funny. But yeah, I'm gonna watch.
It's definitely on the list. Let's talk about Casino. Yeah,
a Scorsese film that kind of sometimes gets lost not

(12:44):
with everyone, it's still like much loved and Sharon Stone.
Kind of my memories of it when it came out
was Sharon Stone kind of kind of reminding people of
what she can do, like in the aftermath of Basic Instant,
where she's probably pigeonholed and doing all those kind of thrillers.
Just like, ah, it was. It wasn't quite like Tarantino
putting Travoltar in pulp fiction, because Sharon Stone was still

(13:06):
part of the you know, the the industry very much so.
But it was like, ah, she can also do this,
and she's extraordinary.

Speaker 2 (13:14):
It's so good.

Speaker 3 (13:15):
I love It's gonna say, Uzie, I love it. I
watched this movie whenever I'm sick. I don't know why.
It's the most gruesome, like emotionally just like violent movie,
and I'm like, I have a cold time to watch
my make better movie. It's Casino. I love it. It's so intense.

(13:39):
That acting is foot like, you know, you got DeNiro,
you can't go wrong. You've got Deniara and Joe Joe Pesci.

Speaker 1 (13:46):
Joe Pesci is one of the finest, just one of
those finest actors of all time.

Speaker 2 (13:51):
He's so good.

Speaker 3 (13:52):
But my introduction to him was Home Alone is a
small child.

Speaker 2 (13:57):
He's one of the wet bandits.

Speaker 3 (13:58):
Yeah, and I was like, what's the web it doing here?
And I was like, oh, he's scarier, scarier than in Hope,
But I still love that he still took a lot
of that like mom energy into Home Alone. Yeah, you
can just see him trying not to swear the entire
Home Alone movie, but like, it's just it's such a

(14:19):
good movie, and yeah, Sharon Stone absolutely kills it. It's heartbreaking,
it's complex, and I think it's just one of those
movies where like I don't know if you get this
or got this, but like wanting to act more and
just watching a movie and enjoying it, but at the
same time being so mad that you're not in that movie.
Have you ever experienced that, but you're just watching, like

(14:39):
if it's like a theater piece or comedy or like
a movie and you're like, this is amazing.

Speaker 1 (14:43):
I'm so I've had reactions where I'm like, oh, this
inspires me and.

Speaker 2 (14:49):
I wish I was. I wish I was, but I'm not.

Speaker 1 (14:52):
I've gotten mad that I wasn't cassed in The Godfather
Part two for instance.

Speaker 2 (14:59):
Okay, you have that reaction.

Speaker 3 (15:01):
But the way you have that much healthy reaction. I
feel inspired by this. I'm going to take this creative
energy and make something. I'm sitting there seating, I'm watching it,
going I call this show? Am I not Joe PEESHI.

Speaker 1 (15:14):
There are times when I've seen an idea badly executed
and I kind of gone, I think could have done
a better job. Yeah, if I had a similar idea
or in the same ballpark, and I'm like, ah, that
might ruin my chances of doing this because it's like,
you know, and that might be more locally where it's
maybe realistic, or on a much bigger scale where it's like, well,

(15:36):
I'm not competing, you know, like I'm not having meetings
at Universal or Warner Brothers in the States.

Speaker 3 (15:40):
Yes, but it's also like this was a movie that
was made like I think I might have been too,
and I'm still sitting here as like a thirty year
old watching it, going they should have cast me, and
I'm not. I'm not then Neero good like who am
I to think like I would get there. I mean
I can do. They're like, but that's it, that's it.

(16:00):
But it's so funny. Yeah, I just I just I
don't know. I just love it. It just makes me
be like, aren't movies right?

Speaker 2 (16:07):
I love it.

Speaker 3 (16:07):
It's one of those like transport movies where you're like,
I'm fully immersed. Like if anyone tried to talk to
me while I was watching Casino, I would get mad, right,
I'd be like, how dare you take me out of
my little world of blood and violence?

Speaker 2 (16:21):
I haven't.

Speaker 1 (16:22):
I haven't seen it for a lot. I mean I
saw it in the cinema and I've seen it since then.
But because I usually go back to good Fellas, good
Fellas would be where I go back to until about
Joe Pesci being absolutely petrifying and hilarious side by side.
It's so uncomfortable to watch become glorious at the same time.
But yeah, I should go back and watch Casino again.
It again has come up a few times on this podcast.

Speaker 3 (16:45):
You know, I'm good Fellas. They're seen in the kitchen.

Speaker 2 (16:47):
That's mon.

Speaker 3 (16:48):
Scorcedes says his mum. Yes, yeah, and they just told
her improvise. Yeah, they didn't give her lines. They just
said they're gonna come over and they're gonna wake you
up in the middle of the night. Okay film and
straightaway she's just like me feed you, let me make
the sit down dinner. Come here.

Speaker 2 (17:03):
It's so good. It's such a I love that film
so much. Was it Nine Days?

Speaker 3 (17:08):
Yeah?

Speaker 1 (17:08):
Should I've seen this one? Tell us about this one.

Speaker 3 (17:10):
So this is one of those movies that I think
it's a really good movie. But I think also just
because of when I watched it, it was like a
bit of a switch in my brain moment. I was like,
I think it was we'd just come out of like
lockdowns and stuff, and I was a little depressobean and
I just went to the movies by myself and I

(17:32):
just saw this movie because it kept coming up, and
I was just like, Yeah, that grain looks really good.
I like the way that movie looks. I want to
go see that movie. It's got a nice score. I'm
going to take myself there. I'm really sad. And then
I watched it and it's basically just like a movie
that makes you realize all the little moments in life
are just so special and so important. All those little

(17:53):
mundane things are really beautiful if we take a moment
to appreciate them.

Speaker 2 (17:58):
Yeah, and it was clear what I need.

Speaker 3 (18:01):
Yeah, I was like, I want to go and eat
an April cut fresh, like I felt like a manic
Pixie dream girl. After that, I walked out of seeing
that movie and I was like, it's gonna be okay. Yeah,
and it was like it was there was like a
sun shower as I was like walking out and it
was like and I was like, oh my goodness, life
is beautiful.

Speaker 1 (18:19):
But it is beautiful when you find a movie that
hits you at the right time and everything, it just
reminds you that life is beautiful and there is beauty
around it and it doesn't have to be you said,
you know, you weren't feeling great and that just was
a perfect and sometimes just something a film can transport you.
The one that for me recently was Past Lives. I'm

(18:40):
not sure you're past Live?

Speaker 2 (18:41):
Yeah, and it just like it did.

Speaker 1 (18:43):
I wasn't needing that film necessarily as far as anything
I was dealing with, but it was just like a
reminder of the journey of life and the friends sometimes
we leave behind and the you know, the futures and
sometimes when our history is in our presence kind of
collide and it's the beauty of like relationships don't have

(19:05):
to be discarded, Like you learn something from every relationship
you have. Yeah, and it's not necessarily something I at
all wrestle with. I've been married for now, happily married
for twenty years, but I'm always fascinated with, like, what
what's the point of relationships once they end? And even
when I think about more through the eyes of my
kids now, who you know, have got relationships going on

(19:27):
and they're going to be dealing with this and you
know there's a decent chance at some point those relationship
will end and how do they deal with it? And
what can I tell them about relationships? And I think
past lives did that for me a little bit.

Speaker 3 (19:40):
Yeah, just whenever they kind of like going through it,
just sit them down and put the movie on. You're like,
I don't watch.

Speaker 2 (19:46):
This, that's parently when I want is a movie? A movie?
It's Korean. It's very hip right now, Yeah, check it out.

Speaker 3 (19:54):
Yeah, I love that when you kind of like walk away.
But it's so strange as well, because you can have
a completely different experience and someone else in who's watching
that movie. And I'm so scared of showing people nine
days because I'm like, I don't know, it might they
might be like that was a good movie, but I'm like,
it's actually, it's actually really important. It's actually a really
important film. It's actually you should probably reevaluate everything and

(20:17):
the way that you perceive the world.

Speaker 1 (20:18):
Yeah, well I had the We did an episode of
this podcast with Puns Drunk Love, which is one of
my favorite again Paul Thomas Anderson love him, Adam Sandler
in amazing form, like we never seen it Adam sand
Lace before and the amazing Emily Watson and I love
the film so much.

Speaker 2 (20:34):
And we did it with my good friend Hamis McDonald.

Speaker 1 (20:37):
And he just did not get it, and I was,
I was like, but you know, and and it was
a really it's a fascinating episode. But what I love
aout Is podcast. What I've learned is it doesn't matter
if you love the film or if you don't like
the film. There's gonna be a conversation that happens. And
you know, I never asked before the movie, before we
start recording, I never asked you what your three pair
films are and I never asked if you enjoyed the film,

(20:59):
and not even actively trying to avoid knowing, but.

Speaker 2 (21:03):
It was like, oh, I really wanted you.

Speaker 1 (21:05):
And I was chatting to Georgia Tiney about it afterwards
and she said she made a really good point. It's
like that just makes it more that feel more special
for you because you see the beauty in that film.
So it's like, oh, you win, like you because you
know you kind of you can see what he was
trying to do. And that's nothing against Hamish or whoever
doesn't like the film that you love.

Speaker 2 (21:25):
It just means that you saw the beauty in it.

Speaker 3 (21:27):
Yeah, it does mean that you're better than the other person. Absolutely,
that's exactly what it means. But I feel like, but sometimes,
like when you show something.

Speaker 2 (21:35):
By the way, hamysh if you're listening, write it.

Speaker 3 (21:37):
Down, I feel like sometimes when you show someone in
a movie, it feels really vulnerable. Like I feel like
when you're like a little kid and you hold up
your little macaroni picture and you're like, I made this
for you. Do you like this beautiful thing that I
have made? And they're like okay, Like oh I was
sharing a part of my soul.

Speaker 2 (21:56):
He's a mixtape or slash playlist for younger. It's not in.
It's not you know, you want you want.

Speaker 1 (22:02):
When I I was you know, I would make mixtapes
and I would expect them to be blown away like
a parties going. I'm gonna put them wait for the
right time and put my mixtape on and let's see
if we can get this party started.

Speaker 2 (22:14):
No, the parties. Somebody's halfway through the first long somebody's
changed it already.

Speaker 3 (22:17):
Okay, you're like, all right, I'm gonna I'm gonna go.
Wait the car. I'm not wanted here. Let's see if
anyone notices I'm gone. Let's play that game.

Speaker 2 (22:28):
You're gonna sit on the front steps for a while.

Speaker 3 (22:32):
Hey man, how are you going? I'm okay, all right.

Speaker 1 (22:34):
No, let's get into the movie. We are here to
talk about.

Speaker 2 (22:43):
We got it, give it, give it to my peace.

Speaker 4 (22:45):
Get you with a knife, you said, total man, you
need a doctor, I'll call it cop.

Speaker 2 (22:49):
No, no, no, no cops.

Speaker 4 (22:53):
You want a boy the law or something.

Speaker 2 (22:55):
No, it's okay. Are you nuts?

Speaker 4 (22:58):
Carrying a water around like that?

Speaker 2 (22:59):
And name? But like this the money you got here,
thanks I'm obliged to you. I gotta get a coin.
You ain't gonna know.

Speaker 1 (23:07):
I got her, gotta run some slots down in West
Bend for a mob here.

Speaker 2 (23:11):
I got a little behind in the paiholes. So that
figure I've been holding out on him. They came Hi
until four to come up with the cash. They don't
get it.

Speaker 4 (23:19):
I'm dead and don't look good.

Speaker 2 (23:21):
Grabs. It's almost four now. I'll give you and your
friend one hundred bucks to deliver it for me.

Speaker 4 (23:27):
I don't know that mugged the hitches.

Speaker 2 (23:30):
Mad enough of me already.

Speaker 4 (23:31):
Well, what if he's around a corner waiting with some friends.

Speaker 2 (23:33):
You don't know you're carrying it? Come on, you gotta
help me out. Yeah, I'm sorry, bo.

Speaker 4 (23:37):
I'm gonna maybe help you get fixed up, get to
a doctor.

Speaker 2 (23:40):
But I ain't about to walk in. No knife for you?
How about you? All you got to do is to
put them in the dose slot. I'll give you the
whole hundred.

Speaker 4 (23:46):
Hey, what makes you think you can trust him?

Speaker 2 (23:47):
He didn't new shit?

Speaker 3 (23:48):
Hey, butt out, chicken liver.

Speaker 4 (23:49):
I get him back the wallet, didn't I How far
is this play?

Speaker 2 (23:52):
Eighteen eleven Mason put in box three seats. You won't
have no trouble. There's five thousand dollars there and here's
one hundred bucks for you.

Speaker 4 (24:02):
Okay, well man, I'll make your drop for you, and
don't worry.

Speaker 2 (24:05):
You can trust me. Not sure if you can.

Speaker 1 (24:10):
Frankie McNair from nineteen seventy three, directed by, of course,
George roy Hill, becomes the first man first director to
have two films passed one million dollar box office mark
with this, after Butch Cassid in the Sun, Dance Kid,

(24:31):
Robert Redford, Paul Newman, Eileen Brennan, Charles Durning, Robert Shaw,
Great Cast, Robert L.

Speaker 2 (24:38):
Jones. I said, that's the father of Darth Vader James L. Jones.
Did you enjoy nineteen seventy three's The Sting?

Speaker 3 (24:45):
I loved it. I loved it.

Speaker 2 (24:48):
It was so good, excellent.

Speaker 3 (24:51):
It was I think when it it started with the
like opening titles and they're kind of all painted and
it does feel like that kind of like nineties, like
teen twenties, almost like like like a magazine or something. Yeah,
I was a bit like, like, is this about to
be like Roger Rabbit Hours where it's like everyone's from
the twenties and they're worrying a Fanora. But it was

(25:13):
so good. It felt like watching like Casino like in
terms of like it was stressful, Yeah, it was stressful,
but it was so funny as well.

Speaker 1 (25:22):
When did you feel like you're in safe fans? Like
you said, you had that moment where it's like, oh
during the opening titles and oh, okay, this is But
when did you feel like, oh, no, I feel like
I always talk about feeling like you're in safe fans,
which puts cashing in to something that scared. It happened
straight away that the CPR kind of opening titles. I'm like,
I think I'm gonna love this film.

Speaker 2 (25:40):
Yeah. Do you have a moment where you kind of
felt that.

Speaker 3 (25:44):
Robert Redford as soon as that man opened his mouth,
I'm like, you know what we're gonna be okay?

Speaker 2 (25:52):
Yeah. Yeah.

Speaker 1 (25:53):
And that first that first con that we we just
listened to with Luther and Johnny Hooker, we do you
know what was going on to you? Because because I
must say, it kind of beat me. I was like, yeah, okay,
this is this is, this is happening. Even though the
movie is called a sting, and I know that Robert
Redford's you know, the main one of the main characters.

(26:16):
So of course they're pulling off some kind of job.
But I was like, oh, this poor guy.

Speaker 3 (26:21):
I it took me so long, like that scene had
well and truly finished before I realized what they did,
which is they had five They had like five thousand dollars,
and then they get they give it to the guy
and then they open his wallet and they say, no,
you're gonna put all your all your money on top

(26:43):
in case they search you, and so they by the
end of it they also take his money. But in
my head, I was like, did they just give that
guy five thousand dollars but then take it back off him.
I guess maybe they're doing it for the thrill, like
and I was like, no, they got like eleven thousand dollars. Yeah,
but it took me so long I honestly thought. I
was just like, it's not really a con, you're just

(27:03):
kind of pranking someone.

Speaker 1 (27:05):
Yeah, they're playing a switcher rude. So they puts it
Danny's pants to show him this is where you put it,
and then he takes out another something wrapped in it
was some kind of sheet or something, you know, small.

Speaker 2 (27:19):
Yeah, like a hanky, like a hanky yeah.

Speaker 1 (27:21):
Yeah, And and so he's got that placed and he
gets out of there and gives it to him, but
it's all fake.

Speaker 2 (27:27):
It's all paper.

Speaker 3 (27:28):
Yeah, it's just paper. And the guy thinks he's just
gotten away by stealing like five thousand dollars, but he's
just given them his money. But I just I missed.
I missed the bit where he put his money in
there as well, and I was just like, what happened?

Speaker 2 (27:41):
Well?

Speaker 1 (27:42):
The thing about this film sometimes I will say which
and I really enjoyed it as well the first time
up for me seeing it, there are times when you're like,
do they show you enough?

Speaker 2 (27:56):
You know?

Speaker 1 (27:56):
You know sometimes so Ocean's eleven is a good example, yeah,
where sometimes they explain how they're going to do it
and then things while then go wrong. And this thing
doesn't follow that format. But I think it's good to
kind of see the switches made. Yeah, and I don't
think I think the sting cheats a little bit, and

(28:17):
I might be wrong. Feel free to let us know.
But by not showing you those slot of hands like
the card.

Speaker 3 (28:24):
Games, yeah, that's exactly what I was thinking.

Speaker 1 (28:27):
Yeah, when does Paul Newman's character Henry, When does he
make that switch to turn the threes into jacks.

Speaker 3 (28:34):
Yeah, that's what I wanted to see too, because at
no point, because I was watching that card game and
I'm like, I want to see it's like watching a magician,
Like you're like, I want to see if I can
see when they do it. But at no point did
he do anything with his hands that would even indicate
that he had cards like hidden at like he was
lighting a cigarette and I was like, did you do it?

(28:56):
Then there's no possible way. Yeah, all of a sudden,
it's like the threes at jacks and you're like, okay, yeah.

Speaker 1 (29:03):
So often films will do almost as a flashback to
kind of let the audience know that the audience, and
I thought that was one of the things that I
felt was missing in this. But there's still so much
to like about it. We're speaking a lot about you
and refer but let's keep talking about them because they're
obviously mates. There's a concern from the movie company the
studio that because for this the work, you kind of

(29:24):
feel like you do need to have a feeling that
Johnny may betray Henry and vice versa, and I'm not
sure if you felt that, but the studio were worried
that because they're famously friends, will the audience kind of think, well,
they're not going to betray each other because it's it's
their mates. Yeah, And I kind of, I must say,
I didn't necessarily feel I knew that they were trying

(29:44):
to get at that, and I have to agree to
the studio, not that I must say. I still enjoyed
the film, but I did kind of. I never felt
that I was going to betray each other.

Speaker 3 (29:52):
I didn't think Henry would ever betray I thought that
he was just doing it for the for the for
the love of it. When Cooker kind of it's like
set up to be like, you've got to turn him in,
and then they start saying that they're going to put
Luther's wife in prison. As soon as that happened, I
was like, I reckon he would because he loved that
family at the beginning when he walked in that family,

(30:13):
he loved them so much and they loved him so much,
and I was just like, oh, no, he needs to
protect that family. He's got to do it. And it
broke my heart. I believed it, but I didn't believe
that these two people had just met, because I was
like that chemistry is great, they are for friends, they

(30:34):
are right or dies.

Speaker 1 (30:35):
Yeah, it's funny the things that we wouldn't maybe forgive
if that movie came out today, There'd be so many
things I think we wouldn't forgive about it. But because
it's maybe nineteen seventy three and there's so much to
like about the film, you allow these films to take
shortcuts in a way that I don't think we allow
in twenty twenty four, for better or worse. Sometimes sometimes
I wish we could just like cut to the chase.

Speaker 2 (30:57):
Yeah, be quicker.

Speaker 3 (30:58):
Yeah, they just got like this where house and they
turned it into like a fake casino like Overnight, And
I didn't question that. And then I was thinking, I'm like,
I've done shows. You don't just have one guy that
you go to and you say, here's two thousand dollars,
give me a casino and then it happens. But I
was just like, my suspension of disbelief, let's go, let's
right this.

Speaker 1 (31:18):
And this movie does rely on that suspension of disbelief,
and it's a famous trope. I'm not sure when that
trope first came up where it's like everybody working together
to build something Three Amigos. It is probably the first
time I ever saw it where it's like the whole
town gets together and so's you know, one hundred and
fifty you know amigo kind of suits, you know, and

(31:38):
with the sombreros and everything. And for me, the first
time I've seen that trick played, I was like, oh
my god, that is amazing. How do they think of that?
You know, impossible? Sure, but I don't care. It's a movie.
This was This was almost more possible and I think
than what the Three Amigos tried to pull off. But
it was, Yeah, it was I think, pretty joyous. Did
you did you understand this thing from go?

Speaker 2 (32:00):
Did you?

Speaker 1 (32:01):
I'm fascinated by murder mysteries and shows like this kind
of God Like, how important is it to understand the sting?

Speaker 2 (32:09):
Do you think?

Speaker 3 (32:10):
So here's the thing about me. I have a lot
to offer the world. I'm pretty dumb. I'm happy to
say I got this smooth, this brainmooth. She's smooth that
she's been buffed down, no lines, She's beautiful. But I
think I was like, as it was kind of unfolding,
I was like, all right, I understand, Like when they
were getting this like Casino, I was like, but why

(32:31):
would they do that? So I was very much just
like along for the ride, and so was I.

Speaker 1 (32:37):
I reckon, I understood, and I watched it twice, so
I kind of maybe picked up a few more things
the second time because I was really looking out for
it the second time. But I think the first time
I understood thirty thirty percent of it, Like yeah, but
I still enjoyed it, and I think it's a sign
of good filmmaking or good chemistry that you can because
there's also a lot of character and they like more
so than the sting. I didn't quite necessarily understand the

(33:00):
kind of character and lot was when did he kind
of come in on?

Speaker 3 (33:03):
And yeah, I think that was when there was It
was only one line that they said, we've got to
find a way to get because Hook is kind of
being because he gave someone counterfeit money. So there's like
so many moving parts in this movie as well. He
gave someone counterfeit money, so then he's got this cop
on his tail. So they said, we've got to find
a way to get him off your back. So there's
this whole side plot going on that we don't know about,

(33:26):
where they've set up a mini FBI headquarters, and I'm like,
I'm just trying to think of organizing all these moving parts,
and I'm like the group chats, the group chats, if
you were doing that today, and you'd have someone messaging
of like five minutes before being like, hey guys, I'm
so sorry I can't do this thing today. I'm so sorry.
I'm feeling anxious. Hey guys, I'm so sorry I can't

(33:48):
do this thing today. I'm really burnt out. That's me,
by the way, that's me messaging chat. I actually I
would love to maybe another time, absolutely, But yeah, there
were a lot of moving part And then I think
as well, there was they had someone like reading the
tape that was like, but I didn't understand how they
were picking the winning horses.

Speaker 2 (34:07):
Yeah.

Speaker 1 (34:08):
So so this is the bit that I kind of
when the first time, I was like, what's a rough
idea what might be going on? So basically and this is,
you know, this is it works because of its time.
It wouldn't work in twenty twenty four where people are
watching horse racing live on their phones. But they were
able to get the results from the Western somebody on
the inside at Western Union, the phone company who gave

(34:31):
them the results you know, a few I suspect minutes
before it then went out, so they were able to
do a fake radio call of the of the of
the race. They had the results, you know, so they
were able to know, put your bed on this, it's
about to start.

Speaker 2 (34:48):
Bang, you win. So yeah, that's that's why they go in.

Speaker 1 (34:52):
One of my favorite scenes, I think is when they
go into the Western Union off because he wants to
that meetings so good.

Speaker 2 (34:57):
It's it's so much fun.

Speaker 1 (34:59):
They go in with the you know, anytime when people
are just as painters and then they're just goin to
take the painting suit off, It's like, yeah, it's so cool.

Speaker 3 (35:07):
I think that was the thing about because like, I
love any I think that wasn't one of the reasons
that I wanted to watch this movie. I love anything
that has to do with like carn artists. Yeah, and
I was thinking about it, I'm like, why do I
love that? I'm like, oh, it's just people playing and pretend. Yeah,
which is what we like to do. And so anytime
that there's like elaborate costume changes, and someone having to

(35:29):
like put on a funny voice or put on like
a fake mustache. I'm like, this is the movie for me.
I love to watch it.

Speaker 1 (35:35):
And there's also the lingo and I thought of you,
you know, because of you know, Tabitha and the lingo,
all those you know, if you if you, but if
you're on the lamb, you know, like it's all that
stuff that's like so rich, but if you're not, it
can cause some confusion. If you are watching in twenty
twenty four and I go, what does that? I knew
what some of it meant, but there's other stuff that

(35:55):
you're going to go. I don't quite know what they're
talking about here. Let's ever listen to I think when
they bring in Johnny Hooker in the.

Speaker 3 (36:01):
FBI, Oh, one of my favorite leads.

Speaker 2 (36:05):
Yeah, let's have it. I think this is the one
special agent Polk FBI.

Speaker 4 (36:09):
Have a chair. Do you want to drink or something? No,
we want to talk to you about Henry Gondoor.

Speaker 2 (36:16):
Yeah, I don't think I know.

Speaker 4 (36:18):
I'll give yourself a couple of seconds.

Speaker 2 (36:20):
You wouldn't want to lie to me. Lieutenant Snyder here.

Speaker 4 (36:23):
Says you've done a lot of confidence work.

Speaker 2 (36:24):
In his town.

Speaker 4 (36:25):
Oh yeah, Lieutennis Snyder does no shit, you ain't got
nothing on me. Yeah, how about counterfeiting, We've got to
tip the Gundorf is going to run a can on the.

Speaker 2 (36:36):
South side here.

Speaker 1 (36:38):
All you've got to do is tell.

Speaker 3 (36:39):
Us when he's going to play is trump We commit
at the sting, make the pension.

Speaker 2 (36:44):
Yeah.

Speaker 1 (36:44):
Actually there's some language that maybe wasn't in that clip,
but that there is in that scene. This certainly they
certainly go there's one passage where they really go hard
on like there's like seven terms that are certainly out
of straight out of the nineteen thirty.

Speaker 3 (36:57):
Yeh, which is just like you know, like and if
you play it like that, every thing will be just
Jack is Jack. Another character that's got one of my
favorite lines where Robert Redford stands up and points at
the FBI agent and says, you stink, mister, just real earnest,
And I'm like, let's yes, you couldn't. You couldn't play

(37:19):
that off today. I'm just being like, and he's going
to stand up and in a very earnest moment, insult
this man to his face. You stink, miss her.

Speaker 2 (37:28):
I'm surprised. So Robert Redford.

Speaker 1 (37:30):
I think it's only nomination for an Oscar for this,
and the kind of surprised me that this is the
one because and he was even during the production saying,
all I'm doing is running around, and he was a
little bit unhappy to the point where or nervous about it,
to the point where the director ended up giving him
like a Golden Road Runner statuette at the end of
production saying, you know, this is for you, thanks for

(37:52):
all the running you've done. But yeah, he was a
bit nervous about taking this roll on. But it's the
one that you get nominated for, which I'm a touch surprised,
as good as he is in this, but this is like,
so this gets nominated for wins the Best Actor. I
think it's sandwich between Godfather Part one and Godfather Part two.

(38:14):
And this is like when New Hollywood is beginning. So
he got Scorsese and Spielberg. You know, George is not
long after this, Robert Shaw goes on to starring Jaws,
you know, France for a Coppola. This, you know, this
cool kind of you know, movies are being made, and
this kind of feels like almost just a bridge between
old Hollywood. This is this is the ocean's eleven of

(38:35):
its day. This is pure entertainment, and I think potentially
I think it wins because it wasn't like it's a
dark time like I think the Nixon Watergate, you know,
trials that just happened, and you know he had been impeached.
Vietnam was you know, still going and getting close to
it its its end point, but still going. So I

(38:58):
think there's always this thinking when times are dark, we
look for like, you know, lighter yea time, and vice versa.
When things are you know, going well, then we're happy
to have more synces.

Speaker 3 (39:10):
We're like, okay, we're ready to process that, bring it in,
bringing meet with.

Speaker 1 (39:21):
But yeah, I say, I'm surprised. In one hand, I'm
surprised at won the Oscar. But at the same time,
I think we often want popular movies to win Oscars
and not always be about the worthy. The worthy films
always winning them, but when one does, it invariably gets
a bit of pushback and really was that the best

(39:43):
film of that year?

Speaker 2 (39:43):
So The Exorcise was released the same week.

Speaker 1 (39:46):
That this film was so wild, Like you cannot get
two films trying to do two different things.

Speaker 3 (39:52):
Because this maybe it's such a good job I think
of being really grounded in that like nineteen twenties as well,
Like there are a few times that I forgot that
I'm like, no, this was made in seventy four, because
it did feel like a much older movie, like even
the way that, like you know, like they had like
the whole like kind of everyone in the casino like
moving at one time, and all the extras like bustling

(40:14):
around and stuff. I don't know what it was about.
I don't know if they're costuming or something, but it
did feel like I'm watching a movie that was made
in like the fifties or the forties.

Speaker 2 (40:21):
Yeah, like, yeah, yeah.

Speaker 3 (40:24):
The Exorcist was made the same came out the same
same week.

Speaker 2 (40:27):
Imagine making that choice, you know.

Speaker 1 (40:29):
I mean, obviously, when you're seeing them, you don't know
that these movies going to become The Sting and The Exorcist.

Speaker 2 (40:35):
But bloody hell, that is quite a choice.

Speaker 1 (40:37):
I do love in that scene where we're talking about
the Western Union when they're painting that they just walk
out and leave it.

Speaker 3 (40:44):
Like that made me feel so anxious.

Speaker 1 (40:48):
I was a little bit like, you can at least
finish the wall couldn't you finish.

Speaker 3 (40:51):
Painting the wall? This board man is just being cold,
and I think that that was the thing. I'm like,
I was rooting for them because I'm like, yeah, you're
getting the bad guy, and then they did that and I, wait,
you're also the bad guy. Wait, you're ruined this man's
day and war.

Speaker 1 (41:05):
Yeah, you can't be completely clean. I don't think when
you're trying to pull off a sting. I think I yeah,
I got my head around it enough. Like I said,
there were elements of this that I was trying. I
was playing catch up. And it is that thing with movies,
like you do always need to be ahead of your audience.

Speaker 2 (41:22):
You know, you do need to be. You can't you can't.

Speaker 1 (41:26):
Have them At the same point, you know that you
need to be every scene the you should be asking
subconsciously questions, I want, Okay, how's you gonna get out
of this? You know what's gonna happen next? And I
think this film that's does it really well. There's one
element that I must say I did not. I thought
they it was another cheat And I know I've come
with a couple of critical points, but I did.

Speaker 2 (41:48):
Really enjoy it.

Speaker 1 (41:50):
But the assassin, the twist, the turn. I mean, what
did you think about the assassin Loretta?

Speaker 2 (41:58):
I think her name was it.

Speaker 3 (41:59):
I didn't think that there was enough. Like again, it
was like one line where I can't remember Loretta's like
last name that they are like referring to her by.
But there's like one line where they're like, we need
to get our best guy on it. I can't remember that.
Then they're like, oh fine, And that was kind of
the only setup of that they have someone going after

(42:21):
the person who has given them counterfeit money or has
stolen that like five grand. From the beginning. Yeah, it
was just that one line and then every so often
you just see like a gloved hand and you're like, oh, yeah,
I guess that's the assassin. No, it's not. We got
a little fem fatale in the house.

Speaker 2 (42:41):
It has no lines, no line, and no agency. Like
they said to her at one point, she's a real professional.
She did sweet fuck all, like like she slept.

Speaker 1 (42:52):
With him, and they said, why didn't he why didn't
they she take him out when too many people would
have seen and like the old lady crossed the hall
would have But she's easily if you're an assassin.

Speaker 2 (43:01):
She's easily you know, taken care of. Oh yeah, she's.

Speaker 3 (43:04):
Probably about to go herself, but it's not much work.
Yeah that felt really it did give me watching it.
I guess that extra sense off. I was like, oh no,
Robert Redford, you can fall in love. Oh my goodness,
Oh no, what if I was the lady working at well,
what if I was lady working there? On deer? But

(43:25):
also I was so frustrated when I saw that he
was like flirting with her, firstly because it wasn't me,
and then secondly because I was just like, you have
a job to do, so don't you dare? Don't you
dare for it? Because she has beautiful hair. Yeah, just wait,
wait a day, wait a couple of days. But also
I'm like, if she's an assassin, why wouldn't you just

(43:47):
kill him like straight away there?

Speaker 1 (43:50):
And also he's always going to her, so like you
gotta have agency. You need to show her doing her job,
like have it that she buys him a drink, you know,
one on the house before you leave, you know, and

(44:10):
start the conversation. But it's always him going to her,
which is just too convenient. Yeah, you know, let her
seduce him and then whether it takes place in her
apartment or not. But it's I thought it was very lazy.

Speaker 2 (44:25):
It was.

Speaker 3 (44:25):
It felt like a bit of like a oh, you know,
we have put that lane in about an assassin going
after him. We're going to do a couple of pickups.
We're going to put it all right. She's working at
the diner. Absolutely, Didn't it just make you want to
eat it a diner?

Speaker 2 (44:40):
I always want to eat an American dinas.

Speaker 3 (44:41):
Yeah. All I was thinking was like, where are our
twenty four hour diners?

Speaker 2 (44:45):
Yeah?

Speaker 3 (44:45):
Here, I want to get waffles at two am and
fall in love with someone working at the diner who
may or may not try to kill me. That's none
of my business, but I want to do it.

Speaker 1 (44:55):
I feel like like a genuine diner as opposed to
like a Johnny Rockets where people are on skates and they.

Speaker 2 (45:00):
Come over with happy birthday to somebody at a booth.

Speaker 1 (45:04):
It's like, I want to feel like the genuine diner
or roadhouse that they have.

Speaker 2 (45:09):
We just don't really have that culture here.

Speaker 3 (45:11):
We don't, but I think we should. I think there
are enough in so many acts like a twenty four
hour diner, especially in Melbourne.

Speaker 1 (45:17):
I want if Americans watch astraying films ago, I'd love
to go to a milk bar.

Speaker 3 (45:21):
But do we have that. We don't really have many.

Speaker 2 (45:23):
No milk bar. It's probably gone the way of the Dodo.

Speaker 3 (45:26):
I don't know what we have any I don't think
we have an.

Speaker 1 (45:28):
Equivalent No, No, I think we have an equivalent of
a We have a bigger pub culture.

Speaker 3 (45:35):
Yeah, Americans are watching. They're like, oh, wish I could
go get a parma. Wish I could go get a
twenty three dollar parma.

Speaker 2 (45:42):
Cotten a parma barma.

Speaker 1 (45:45):
Just there's a schnitzen tits.

Speaker 2 (45:49):
When I go, When I go down under Unders.

Speaker 3 (45:52):
That's what I'm doing, And I'm gonna and I'm gonna
watch a forty three year old man do carry OK,
That's what I'm want to do when I'm there. That's
what we've gone. Weir and we have culture, and that's
what this is about. This movie. All that made me
want to do is eat it a diner and gamble. Yeah, yeah,
and maybe try to. Actually, when my housemate and I

(46:15):
were watching it, we did start trying to see if
we could pickpocket one another. We can't.

Speaker 2 (46:20):
It's so funny, isn't it.

Speaker 1 (46:21):
Whenever you see in these kind of movies anybody just
bump into each other, you get it, Well, there's the walletstole.

Speaker 3 (46:27):
But it's so what because I was like, how did they?
And we were we were practicing, we have had things
in our pocket and we were like walking past one
another and just like shoving each other and grabbing it.
We're like, noth felt that, not felt that? Do it again?
And I remembered when I was in I was in
Rome and I was on a train and there were
a bunch of pickpockets and we could see them because
they were in a group. And someone said to us like, hey,

(46:49):
just when you get on and off the train, that's
when they do their thing. And I was like okay, great,
and so we were I was like twenty and I
was like oh no, no, no no, and we're getting
off the train and a lady I saw, she turned
and there was just a hand in her bag and
she was also Australian, and she just grabbed her bag

(47:09):
and just went no, thank you, no, thank you, don't
pickpocket me. Please to think about that, think about what
you've done. No, thank you, absolutely not. Not on my holiday.

Speaker 1 (47:25):
I love that Eileen Brennan. There's a great performance. Eileen
Brennan is so good. People know her from the Last
Picture Show. She was awesome in that. They also will
know her from a Private Benjamin with Goldie Horn, And
there are these little shortcuts when she when Hooker goes

(47:46):
to see Henry for the first time, and she's sweeping
at the stairs and this is like, is Henry Gondolf
for there? She goes scram beat it and she's like, Luther, Sammy,
are you you hook Yeah, come on in. It's just
why not you know, if you're expecting somebody, you know,
and they've asked for Amy, the Luther sends you.

Speaker 3 (48:07):
It's yeah, something like news travels fast, like Luther just
got killed. I guess they had phones. Yeah, I guess
they had phones. But that's kind of something that I
was like, like, how does this man know where to go?
I think I must have missed something because he immediately
was like, I'm going to go visit this man I've
never met, who's the best in the Bears? Yeah, and
start this big con. Yeah, it's probably why I was

(48:30):
trying to pickpocket my house. I was probably busy trying
to get like wait, let me see if I can
do it.

Speaker 1 (48:35):
Yeah, I've never been pickpockeing, but I always kind of
think surely I would feel it, you know.

Speaker 2 (48:39):
But yeah, the good ones. Let's have a listen.

Speaker 1 (48:43):
We're going to go backwards a little bit to it's
one of the most iconic scenes in the film, which
is a card game.

Speaker 2 (48:49):
So Henry is playing drunk.

Speaker 1 (48:52):
He's drinking out of the way I took it was
like basically gin with water in it.

Speaker 2 (48:56):
Yeah, or just a bottle of either diluted it or
it's it's just water.

Speaker 1 (49:01):
And he enters a hyphen Luton High society game of
cards with our good friend Robert Shaw Lonigan, and he
he enters.

Speaker 4 (49:14):
Sing, lad guys, I was taking a crap named Shaw.

Speaker 2 (49:20):
Mister Shaw, meet mister Jamison from Chicago.

Speaker 4 (49:22):
Tire Lombard, Philadelphia, mister Lonigan from New York Crazy, meet
you mister Clayton Pittsburgh. So any of you guys want
to make a little book at Chicago. I'm a going
to see. Game is straight poker, one hundred dollars minimum
table steaks.

Speaker 2 (49:41):
Mister Shaw, this is a gentleman's game. We assume you're
all good for your debts.

Speaker 4 (49:46):
How much would you like, mister Shaw, I'll start with
five thousand, mister Shaw. We usually require a tie at
this table, and if you don't have one, we can
get your one.

Speaker 3 (49:59):
Hey, it'd be real, mister larwen lalagam u.

Speaker 1 (50:05):
It's I mean, that would have played very funny, I
think in you know, in cinemas back then. I mean,
I think it's funny. We even watching it now. A
couple of things like him saying taking a crap. I
do wonder what this is, is someone unexpected to hear the
word crap in a film and like referring to it
as actually taking a dump, Like I kind of think

(50:27):
that must I wondered if that was pretty edgy in
cinemas in the seventies, all this unexpected Maybe I kind of.

Speaker 3 (50:34):
Kept I think again, because they did such a good
job of like rooting it in that kind of like
nineteen twenties that whenever they did say like shit or
that crap and stuff, I was a bit like like
clutching my part. They didn't say this in the twenties,
but like, yeah, it's so good. I think it would have.
I don't know, I think it would have been. But
also you think about the fact that it's, you know,
The Exorcist that had come out the same week, but

(50:55):
I think it just doesn't feel a part of the world. Yeah,
so I think that's probably why. I guess, like, in
the world, someone speaking like that is kind of shocking.

Speaker 1 (51:03):
And yeah, the character is trying to be uncouthant, you know,
and to create this impression that he doesn't really belong
and he's maybe not you know, he's drunk, so he's
probably easy to take advantage of. When when Lonigan takes
the bottle of gin off him, I thought, you know,

(51:25):
they where it was heading, was he's about to be discovered,
because you know, maybe he'll poor And I thought, you know,
I mean, he wanted to ask her. It's much of
a loved film. But I think they miss an opportunity.

Speaker 3 (51:41):
Frankie, I've got a couple of people.

Speaker 2 (51:43):
I get some notes.

Speaker 3 (51:44):
Yet I think you've forgotten. I think you've set something up. Yeah,
perhaps nothing, Okay, did you run out of time? Okay? Yeah,
because there was like a bit of a thing of
him filling it up and he explains he's like, you've
got to dilute it. So they think you're drunk and
then the bottle gets taken off and you are kind
of like, oh shit, and it's just like, oh no,

(52:05):
that was nothing happens.

Speaker 2 (52:06):
Okay, nothing happened.

Speaker 1 (52:07):
So even they obviously don't want him to get called
out because they want him to get through this. And
then they'll send Robert Redford into the room and we'll
listen to that bit in the second. But there an
opportunity is to pour, you know, a shot and then
kind of go to drink it, you know, and then
decide not to.

Speaker 2 (52:25):
Let's have that tension engine would have been good. So
I'm sorry, George or Hill.

Speaker 3 (52:32):
We'll send them through, take them or leave them if
you want. I lone Agans.

Speaker 2 (52:38):
Let's talk about Robert Shaw.

Speaker 3 (52:41):
It was awesome. Is he Irish?

Speaker 2 (52:45):
Yeah, yes he is Irish. Yes, he's in Jaws. He
plays like a.

Speaker 1 (52:50):
Oh yeah, the big and that's a big monologue about
the World War two and the sharks in the water
and all that face on the true story.

Speaker 2 (52:58):
Yeah.

Speaker 3 (52:58):
His voice the first time you see him, it's just
like his back and he starts speaking like that. I
was like, oh, what a cartoon evil man, what a
mustache twirling villain? And he had like a limp, and
I was like, you are like a Dudley do Right

(53:18):
kind of evil character. Yeah, awesome.

Speaker 1 (53:21):
And he has a limp because he actually heard himself
playing racquetball in real life. Really yeah, and taur ligaments,
so they just he was wearing a knee brace and
luckily they had his wider set pants in the nineteen
thirties and they were able to, you know, make that work.
But it becomes part of the character.

Speaker 3 (53:38):
I love movie. I love movie.

Speaker 2 (53:43):
It's so good. It's so good.

Speaker 1 (53:44):
But he is really and this movie, like you say,
this cartoon villain, and that's exactly what this movie wants,
Like yeah, you know, and it's interesting because he's an
Irish mob boss, which is probably they'll probably relieve they
went that way because at the time you had The
Godfather and that was played with protests from the Italian
American community, you know, you know, not really wanting that

(54:07):
part of their culture immortalized on screen. So I'm really
I just love watching Robert Shaw. All the way through this,
I thought he was just so good.

Speaker 3 (54:18):
Yeah, he was really, really good. I really enjoyed watching him.
He just he gave so little but like I don't know,
he was just so contained. But also I did notice
he had incredible blush on. There was like one scene
where I was like, girl, you're highlighted, Like it was
just like right, he had these little rosy cheeks and

(54:40):
I was just like, absolutely lean into that character choice.
This man is evil, but he takes his time to
present himself.

Speaker 1 (54:48):
Well, he is a well dressed man. Certainly well, I
certainly noticed that I didn't notice the blush. I'm going
to watch it for a third time now, you'll notice.

Speaker 3 (54:54):
It looks like a little Cherub's beautiful.

Speaker 2 (55:00):
He's so much fun. And then the next bit happens
where he sends so Henry's finished, He's part of this thing.

Speaker 1 (55:06):
He gets out. Like you said, there's elements I love
to say. I really genuinely love the scene. I love
the way Newman is acting. I love the way he's
protecting his cards.

Speaker 3 (55:17):
Yeah.

Speaker 1 (55:17):
I would have loved to have seen, at some point,
whether it happens later on, how he was able to
manipulate his cards.

Speaker 2 (55:23):
Yeah.

Speaker 1 (55:24):
I love the idea though, that both are trying to cheat.
And that's why Lonigan can't really call him out, because
what am I going to say that he cheated better
than I did? And that caint comes out when he
sends Johnny Hooker into the room to confront him or
the pick up the cash. But Johnny Hooker has got
other ideas. And I must say I really enjoyed this
because I was like, oh, okay, where is this going?

(55:48):
Like this idea that okay, you know he's confession straight away.
I was like, okay, let's yeah, let's see where this goes.
But let's have a listen.

Speaker 3 (55:56):
Every bus is quite a card player, mister Kelly. How
as he does.

Speaker 2 (56:01):
He cheats.

Speaker 3 (56:04):
On that case, I'll keep my money and we'll just
have another game.

Speaker 4 (56:07):
You don't have any to keep. There's your wallet. You
heard a dame to take it from you. Shaw has
been planning to beat your game for months. He just
been waiting for you to cheat him so he could
clip you.

Speaker 2 (56:21):
Who do you think you're talking to her?

Speaker 3 (56:23):
And by nobody sets me up?

Speaker 2 (56:25):
Take them back to the baggage, will puts one easier?

Speaker 3 (56:27):
Please think there are four witnesses at that table and
go back. Get another goddamn son of vexables. Dump them
in the first tunnel. Hit doial. We're gonna be in
the station in a couple of minutes.

Speaker 4 (56:36):
Thinking not too good. You're killing a guy your money too.
There's better ways of taking him down.

Speaker 2 (56:43):
There's better ways to take me down.

Speaker 1 (56:44):
So that was that was really effective for me because
I was like, Okay, I had no idea what's about
to happen.

Speaker 3 (56:50):
Yeah, they haven't explained what the play by play is,
and so yeah, you are along for the ride. But
I love as well that they absolutely like go into
his ego because they dis like they say that he
his way that he's been made up is that he
gets close to like the head of some kind of
like a criminal organization, learns how to do his racket,

(57:13):
and then kills him off. And that's how he's gone
up and up. And then that's exactly what Hooker is.
He's like, it's like, oh, I've come from the same
town as you. Oh I'm kind of doing the same thing.
We're very similar. And then of course they're like this
man kills for Pride and he's like, I see myself
and you.

Speaker 1 (57:27):
Did you feel the like as it went along? Did
you feel the danger? Like like I said earlier, I
didn't necessarily feel like the newman and Red for we're
going to betray each other, But I did. Yeah, En,
I feel like the stakes were high enough, like that
Robert Shaw gave enough menace to believe that these two
were potentially in danger.

Speaker 3 (57:47):
Yeah, I think he did. I think when I was
watching it, because the like, the big con is that he,
Robert Shaw puts down like half a million dollars to
bet and we'll lose it. But his house and everything,
it looks so rich. And then I remembered, oh, that's
half a million dollars in the twenties. Yeah, And then

(58:08):
as soon as I look that up, I'm like, oh,
oh my goodness, oh.

Speaker 2 (58:13):
Dear, how much was it you? Like, do you have anything?

Speaker 1 (58:15):
I can't remember, but I must say I that thought
occurred to me. It's like when he asked for you know,
another half a million dollars whatever it was, was like shit, like.

Speaker 2 (58:26):
This is yeah, this is massive.

Speaker 3 (58:28):
This is because I think that I looked at eleven
eleven thousand dollars was one hundred and seventy four k.

Speaker 1 (58:36):
Well, I know that Paul Newman and Robert Reffick both
got paid five hundred thousand each for making this film,
which was three million dollars you know, in today's money.
So if you then go back to the twenties or thirties.
Yet staggering it is. It is high stakes.

Speaker 3 (58:56):
Yeah, I mean even when he was at the day
in it he got meat, love, a coffee, and an
apple pie for I think it was she said eighty
five and like, was it eighty five cents? With that
eight dollars?

Speaker 2 (59:05):
I was.

Speaker 1 (59:06):
I looked at the prices on the wall at one point,
Oh went, wow, you can get you can get maybe
not hot chocolate, but you know, for it's fifty thirty cents,
it's amazing, and that a little Speaking of the diner,
I mean, I've got to mention this earlier when we're
speaking about it. The same diner that they meet Hi
at one point is the diner that Doc meets Marty

(59:28):
McFly in Back to the Future.

Speaker 3 (59:30):
Was it like an operational diner? Like was it?

Speaker 2 (59:33):
No?

Speaker 1 (59:33):
I think it's funny people say that and then you
look at it you gonna go. But surely it's almost
like completely reconstructed. And what part of it is still
really the diner? Is it just the actual bench itself?
But I would have I would have thought that from
nineteen seventy three. I guess it's only from the sting
to Back to the Future. It's probably what twelve years.

Speaker 3 (59:54):
They probably just put up a couple of posters and
they were just like, all right now it's Back to
the Future film.

Speaker 1 (01:00:01):
The we're heading towards the end. They do a really
good job when we're in that world of the Cassine.
It's not really casino, is it. But it's a.

Speaker 3 (01:00:11):
Fake, a fake underground Cassino.

Speaker 2 (01:00:14):
Yeah, let's call it that.

Speaker 1 (01:00:16):
And I love the scene where he doesn't quite get
the bet on in time because they kind of, you know,
they can't afford to lose that money. But it's just
smart because they want to not risk the money. They
haven't got the money to pay that out, but they
need to convince him that he would have been right. Yeah,
And I think that's a really that was I think

(01:00:37):
a really smart move. And this to see again to
keep going back to it. But Newman and Redford in Taxedos,
I mean, that's your box office right there.

Speaker 3 (01:00:46):
I forgot about the montage, the like twenties style montage
where they glow up Robert Redford, yes, his part, but
they only play the same Din Din dinner did. That's
the only music that plays in the entire film. It's
just that one like carousel song. And so during the montage,

(01:01:07):
it's like a it's like a nineteen twenty but kind
of that, like walking out in like a new tuxedo,
turning around being like maybe this one, and then like
a wipe to him getting a manicure, going what is
this thing? Someone like tailoring his pants, like get off me.
And then at the end, all they've done is like
combed back his hair and they're like pretty good.

Speaker 1 (01:01:25):
Robin red It's like, wow, how did you make this
guy look like that?

Speaker 3 (01:01:29):
Before he looked like he looked disgusting and now he's
a glowing prince And just like either way he'd be fine.
Just get him out there.

Speaker 2 (01:01:39):
It's Robert red Foot, Robin Redford. It's amazing.

Speaker 1 (01:01:43):
So when when everything goes down, the shooting happens, and
is there any part of you that thought, oh, they've
turned on each other and now they're one of the
one's being killed or you were a long.

Speaker 3 (01:01:55):
No, one hundred percent. I was like as soon as
they like that like fake FBI busted in at the
end and they were like arresting him, I was like,
oh god, and then and then he gets shot. I
was like, yeah, shoot him, shoot the rat, get him,
you dog. And then I can't remember. It was when

(01:02:17):
they were just rushing out, is it er, mister evil rubbishaw?

Speaker 2 (01:02:24):
Sorry?

Speaker 3 (01:02:25):
Yeah yeah. I think it was at that point where
they're like everyone get out, everyone get out, and then
they've just rushed him out and there's a scene of them.
He's like, my man is in there, and then I
realized no one else was leaving. I think that's when
I was like, oh, thank god, Oh it's a part
of it because I saw when he was getting ready
he put something in his mouth and I was like okay,

(01:02:47):
and then I was like it's a blood campsule.

Speaker 1 (01:02:49):
Okay, yeah, yeah, I I yeah, I had a moment
where I did question I go, oh maybe, which is
like it's it's good filmmaking because I kind of, you know,
it's a sting in that, like like I wasn't convinced
that these two were going to betray each other.

Speaker 2 (01:03:03):
He shot, you know, he gets shot, but.

Speaker 3 (01:03:06):
He's got shot in the leg, and then they rolled
him over and he was dead and I was like, okay,
keep shutting.

Speaker 2 (01:03:11):
The leg and he got blood in the man.

Speaker 1 (01:03:13):
You're right, actually, but for a second and then and
then that was pretty quick going no, I think this
is this is all part of it, and he gets
ushed out, you're right. And final note was when Johnny
Hooker decides not to take the money.

Speaker 3 (01:03:27):
I got a thought of yep, yep.

Speaker 2 (01:03:30):
Now you should be your thoughts. Okay.

Speaker 3 (01:03:32):
So at the end, two man guys who have done
this whole thing for for Luther, their friend who was
shut down, and then they both go, you're not going
to stay for your cut, all right, let's get out
of here. I'm like, give the money to the family, exactly,
give the money to the I was laughing so hard
as the credits when I was like, is anyone are

(01:03:52):
they going to give the money?

Speaker 1 (01:03:53):
Because it's such a simple idea that would have like
just like be more believable, Like really, Johnny Hooker like
you're not. You're not thinking at all about what you
could do with the money for you or somebody else,
Like the perfect idea I had was. So he goes

(01:04:14):
to leave, and maybe Paul Newman says to him, yeah,
let's go, yeah, get a buzz on, le let's go
get a drink, and he's like, I might drink with
myself tonight or you know, like and he's got his
money and he goes off and he's like, oh yeah
he's a party boy or he's young, get laid or something.
And then you see him drop the money off. Yeah,
Luthor family.

Speaker 3 (01:04:31):
It could have been one line being like, you're not
going to stay for your share? No, I think I'll
give it to Luther's family. Let's get out.

Speaker 1 (01:04:39):
Yeah, it really had to be like I mean, I
would loved doing like not not announce it like this
kind of go like you.

Speaker 2 (01:04:44):
At the camera now you think.

Speaker 3 (01:04:48):
Fingers the moral of the story.

Speaker 1 (01:04:50):
Yeah, but like you know, even a knock on the
door and you know, you see him leave and maybe
you don't even know it's him, and the door opens
as Luther's wife and she is a package there and.

Speaker 3 (01:05:02):
In a little baby basket full of money, pulling back
it's cradling it like it's a baby. You have a
new family. Now.

Speaker 1 (01:05:13):
Honestly, they went to a lot of efforts, went to
so much effort, and I don't think I've really seen
the growth, you know, the journey of Johnny Hooker to
kind of really think he'd gone from And I understand
the idea that it was about avenging Luther's death, and
I'm completely on board for that, but at least where

(01:05:37):
does the money go? Like is it just get evenly
spread amongst everybody else who like just do something better
with it?

Speaker 3 (01:05:44):
Yeah, And they're just like it's all of them just
like packing down the entire thing really quickly, Like as
soon as everyone's gone, they're like, all right, pack it up.
And I'm like, what's the admin process now? Like it's
like if you're an extra, come forward, you get your amount, and.

Speaker 1 (01:06:00):
We're having a sale on these things really cheaply if
you want to buy yourself.

Speaker 3 (01:06:03):
If anyone wants to take.

Speaker 2 (01:06:04):
Anything, there's bottles here, please.

Speaker 3 (01:06:07):
Guys, we can't take it.

Speaker 2 (01:06:08):
We're nice.

Speaker 3 (01:06:09):
Take it was the quickest bump out and then just
they just had what's gonna happen in the money? Also?
I mean is that I feel like that man is
a very vengeful man. I think he's going to try
to find his money.

Speaker 2 (01:06:23):
Well, that's the other thing. He's still alive.

Speaker 1 (01:06:26):
Like I would have had the knock on the door,
loser's family opens it, the money is there, or somebody
passes it to her. That's not Johnny Hook, but we
know where it's come from. And then Johnny is seeing
a final shot of Johnny Hooker is sitting on a
train maybe with Henry.

Speaker 2 (01:06:42):
Oh yeah, journeying.

Speaker 1 (01:06:43):
Off, you know, feeling good about the choice that he made.

Speaker 2 (01:06:48):
That's for me, he is a better ending. I'm sorry.

Speaker 1 (01:06:51):
I'm sorry Julor roy Hill and David s Ward who
wrote the script, but.

Speaker 3 (01:06:58):
Yeah, I'm I'm with you. I was laughing pretty hard
at the credits. I was like, you missed a bit.
Excuse me, did you run out of time?

Speaker 1 (01:07:07):
Because even he says, well, I will just blow it anyway,
the idea because you know, when he made some money
earlier on in the film, we see you can go
to the roulette table and it's all corrupted, but he
lost the money straight away.

Speaker 2 (01:07:20):
Basically.

Speaker 1 (01:07:20):
Yeah, so we understand that he likes to take chances
and all that. So I guess there's a bit of
growth in the character with that.

Speaker 3 (01:07:28):
But just you don't have to throw the baby out
with the bathroom exactly.

Speaker 1 (01:07:31):
Remember why you're doing is for Luthor and Luther's family
and that probably don't have the support that Luthor provided them.

Speaker 3 (01:07:39):
Yeah, she's out grifting again. Wife is out grifting again.
Going if only there was a baby basket full of
money that I could have.

Speaker 1 (01:07:47):
Yeah, you know, and Johnny Hook hasn't even dropped by recently,
you know, his own projects. There were a couple of
my issues with the thing, but I really enjoyed. It
was good to see a film that was just just
being entertaining.

Speaker 3 (01:08:02):
Yeah, it was really entertaining, I thought it. Yeah it was.
I think it was so built in that nineteen twenties
world that when you said that The Exorcist came out
the same week, I was like, but that's not possible.

Speaker 2 (01:08:15):
It's nuts.

Speaker 3 (01:08:15):
This was made in the twenties when they didn't have
audio for movies yet. Yeah, it's yeah, I really it
was so fun.

Speaker 2 (01:08:23):
It was so fun.

Speaker 1 (01:08:23):
And even the bits where I didn't like, even with
the assassin Laretta, like when she got shot in the head,
I was like, oh, like wow, what the hell? And
then I didn't think hang on, Like even when they
turned their body out, there was no point where you
could see that she was reaching for her gun. I think, right,
maybe that like a frame of her right arm going

(01:08:44):
to her handbag, like for a frame. Yeah, as she
gets shot, basically as almost as you hear the gun shot,
and then they turn her over and the gun is
clearly in her hand.

Speaker 2 (01:08:53):
It's like, what we didn't see?

Speaker 3 (01:08:54):
Yeah, it was. I feel like they did the first
cut and were like, we could add it on. We
could add in another ten minutes. Let's add in another
ten minutes. Let's that come on, let's go, let's do it.

Speaker 1 (01:09:08):
Because it's it's a it's a great idea to have
the fem fertile the lady assassin, but just make her
work for it.

Speaker 3 (01:09:16):
Yeah, I did. I did shout and point when it
was like that was the assassin. I was like, a twist, twist,
a lady assassin. We can do anything.

Speaker 2 (01:09:27):
Low at us, go.

Speaker 3 (01:09:30):
Take that man? Where can I tell you?

Speaker 1 (01:09:33):
This is years before Andrew and the Jolley and her
movie sald whatever what was called. Yeah, I did the
original script a few movie facts before we wrapped things up.
The original script was a lot darker. It was involving
I think a fixed boxing match and the brother dying
and kind of avenging his brother's death and the whole thing.
We had a much dark undertone, and George roy Hill,

(01:09:57):
who preferred to keep things a bit lighter, decided that
he wanted to make this like a homage to nineteen twenties,
nine and thirties Hollywood. And and I think he made
a good choice by doing that. Oh, by the way,
who who killed Selena?

Speaker 2 (01:10:18):
You know that when he goes down to the alleyway
his guardian age and.

Speaker 1 (01:10:22):
He's trapped and then you go and then somebody it's
for Selena or he was Seleno. I just had a
note who killed Seleno? And it kind of the camera
pans down to a manhole suggesting that's where Johnny Hooker is. Yeah,
so it wasn't Johnny Hooker who killed him? Was that
black glove?

Speaker 2 (01:10:41):
No?

Speaker 3 (01:10:42):
Okay? So Selena was the Dinah lady. That was the
name of the assassinka. And that was like the reveal.
But the guy with the glove, we're meant to think
that that is Seleno the assassin. It's actually not. That's
someone that Henry has sent to look.

Speaker 2 (01:10:58):
Out look for Johnny, for Johnny Hooker.

Speaker 3 (01:11:01):
So then you see the glove and the gun and
you're like, he's about to shoo Johnny Hooker and then
he shoots Selena.

Speaker 1 (01:11:06):
So Selena was the guy in the alleyway chasing Johnny Hooker?

Speaker 2 (01:11:09):
Was that right?

Speaker 3 (01:11:09):
No, that was just our Guyleno killed.

Speaker 2 (01:11:12):
Yes, so who killed? Who killed? That guy in the alleyway?

Speaker 3 (01:11:17):
Selena the Dinah lady.

Speaker 1 (01:11:19):
But I thought there was a male voice. Was a
male voice maybe coming from the guy in the alleyway?

Speaker 3 (01:11:24):
Yeah, because he was like Selena, no.

Speaker 2 (01:11:26):
Y yes, okay okay.

Speaker 3 (01:11:30):
But again, it did feel like you're watching a separate
movie for those bits. It did feel like they kind
of took footage from another movie and just went and
also there's this there's also this bit.

Speaker 2 (01:11:41):
Yeah.

Speaker 3 (01:11:41):
Also there's this side bit, the side quest.

Speaker 1 (01:11:44):
It was Yeah, I like, like often if I come
with this many criticisms, it's I didn't enjoy the film
as much. But I really I really did, and it
really seems up to a second watch, I think, you know,
you can't see all the.

Speaker 2 (01:11:57):
The little bits.

Speaker 1 (01:11:59):
Julia Phillips was a producer and became the first female
producer to win an Oscar. Yes, so salute to Julia
Phillips accepted the Oscar off.

Speaker 2 (01:12:11):
Elizabeth Taylor, Oh Love Liz.

Speaker 1 (01:12:18):
Liza handed that one to Julia and then sadly, though
Julie may have broken the glass ceiling but didn't completely
shatter it, because the next female producer to win.

Speaker 2 (01:12:28):
I think was driving Miss Daisy, which.

Speaker 3 (01:12:30):
Is like, oh my goodness, let's.

Speaker 2 (01:12:32):
Say late eighties, maybe even ninety.

Speaker 3 (01:12:35):
Yeah, yeah, yeah, absolutely. You don't want to go too hot,
too quick, Hollywood into everyone.

Speaker 2 (01:12:40):
Everyone.

Speaker 3 (01:12:41):
Let's okay, let's just just calm down. You had to go,
you had to go. Now, it's let's let the spell as.

Speaker 2 (01:12:48):
A guy, get the men back in the room.

Speaker 3 (01:12:50):
We don't want them to get upset. You did such
a good job at sharing boys.

Speaker 2 (01:12:54):
Good job, I know. It's I was like, oh, that's cool,
and then it's odd.

Speaker 3 (01:12:59):
The next one was okay, well, nearly.

Speaker 1 (01:13:03):
Paul Newman was advised not to do the film because
he was suggested that you shouldn't do comedy because he
doesn't have a light touch.

Speaker 2 (01:13:09):
I would completely disagree with that.

Speaker 3 (01:13:11):
They disagree.

Speaker 2 (01:13:12):
You feel like cool hand.

Speaker 1 (01:13:13):
Look, I feel like he brings a lightness to that
character and you know, the hustler and there's Yeah, I
feel like Paul Newman does have that in spades.

Speaker 3 (01:13:23):
He's so cheeky, he's such a he literally has a.

Speaker 2 (01:13:26):
Glint in his eye, yeah he does.

Speaker 1 (01:13:28):
And he's a bit of a practical joke like George
Clooney plays, you know, he's famous playing these practical jokes,
and I think he basically is carrying on a tradition
of Robert Redford and Paul Newman.

Speaker 3 (01:13:37):
Yeah, it's literally he's I would probably describe it as
a cheeky rag a muffin.

Speaker 2 (01:13:44):
Which I might take that as my next year's comedy
festival title.

Speaker 3 (01:13:48):
Yeah, go for it, and then you can have the
little the little blush on your cheeks too, like a
little cherub Robert shawstyle. It's me.

Speaker 1 (01:13:57):
There's a horse god Wilder in the The Calling of
the Horse. Most of them were A lot of them
were actual horses around that time, but there was a
few that weren't, and Wilder was one. Potentially, this hasn't
been confirmed. It potentially it's because Billy Wilder, the famous
writer director, hated horse racing, so it might have been
a little bit joke at his expense that a horse
called Wilder.

Speaker 3 (01:14:17):
Some of those horses had wild names. One of them
was like Beefcake. They just had like absolutely obscene names.
I was like, yeah, I don't want to be.

Speaker 1 (01:14:27):
One of the fun parts of riding the screw going,
what are we going to call these horses? It doesn't
really matter. We've got to make some pop more than others. Perhaps, Yeah,
let's call it beefcake, why not.

Speaker 3 (01:14:35):
In the running beefcake, beefcake meat chack there is.

Speaker 1 (01:14:38):
It's one of the great voices that that that era
of race calling.

Speaker 2 (01:14:43):
Yeah, is such.

Speaker 1 (01:14:44):
A strong recognizable voice. Technically, the technical advisor actually did
the car tricks and a lot of the shuffling when
Paul Newman was doing it.

Speaker 3 (01:14:55):
And then there's like it was like it was it
was his hands, his hands. Yeah, that's all I'm thinking of,
is like all of the adventures, just the cut to
just like completely different hands, just completely different.

Speaker 1 (01:15:10):
That is I'm gonna get it Russell Cooit in the
second funnily enough, and yeah, so then his hands kind
of leave the scene for a split second. There's an
invisible cut, and then that pans up to see Paul Newman.
It's really it's really nicely done. Robert Redford did not
see this move until two thousand and four, and I
can't find anywhere if he enjoyed the film or not,

(01:15:33):
which is the next This is fact that Robert Reveie
did not see his film to two thousand and four.

Speaker 2 (01:15:37):
Okay, but what did he think? We need to know?

Speaker 3 (01:15:39):
What did he think when he saw it? Did he
think I'm the most beautiful man in the world.

Speaker 1 (01:15:43):
He may be actually scouring the you know, the podcast
world or the internet to find reviews and you know,
modern reviews. He could be listening to this right now.

Speaker 3 (01:15:53):
Robert, you did such a good job.

Speaker 1 (01:15:55):
I agree to Robert, and those criticism I have like
the you know, take it or leave it to be honest,
I'm probably wrong.

Speaker 3 (01:16:03):
You have a great run, Robert Redford, You have an
incredible gait.

Speaker 2 (01:16:08):
He runs a lot, doesn't he?

Speaker 3 (01:16:09):
He runs so much?

Speaker 1 (01:16:11):
Yeah, like Tom Cruise would be yea running going on here.

Speaker 3 (01:16:16):
There's so much running. And that's why there's been a
couple of things I have auditioned for that have been
like cops and I'm like, and I haven't gotten it,
And I'm like, it's probably good because I have an
obscene run. I have the run of someone who's running
for public transport but doesn't want to commit to the run.
But that's me really trying. It's not good. So if

(01:16:40):
anyone listening needs that and anything coming up, please let
me know.

Speaker 2 (01:16:43):
It's funny.

Speaker 1 (01:16:43):
I'm trying to think if I've ever had the run
on the screen but it's one of those things you
don't really think about until you have to do it,
Like you don't think what look, the older you get,
the less you run. Obviously, yeah, well actually run.

Speaker 2 (01:16:59):
To keep fit.

Speaker 1 (01:17:05):
So I've heard it's a thing I think the millennials
are starting to do.

Speaker 2 (01:17:09):
I don't know.

Speaker 3 (01:17:10):
I don't know unless you unless your doctor has said
you've got to start running. There's no reason.

Speaker 1 (01:17:18):
I'm going to rephrase this that they will don't run.
You really don't run in a panic, like you know.
I never run. I've never run for public chain. There's
a choice I made many years.

Speaker 3 (01:17:31):
Ago my dignity, and I've done a routine about it
where there's always somebody on.

Speaker 1 (01:17:38):
The train going, look at that fat fuck running for
a train, because I've been that person saying that same
thing about somebody else.

Speaker 3 (01:17:44):
And everyone's like, why why are you saying?

Speaker 2 (01:17:48):
Why loud?

Speaker 1 (01:17:56):
But I when you have to do it and be
film doing it, you kind of think how do I
How do I run? I just run as I do?
But is it a character choice? How would the character
run or I'm just gonna run as I would run?

Speaker 3 (01:18:11):
I would absolutely overthink it. I think my body would
collapse to the floor. Yeah, there'd be too many things
going on in my brain because I would think about
the hank. Do you do you do cruse hands where
they're just like like tiny sharp dinner plates next to you,
or do you do that because the sprint, yes, where
he uses his arms.

Speaker 2 (01:18:31):
Yeah, he really goes for it.

Speaker 1 (01:18:33):
But I I think I'm sure I've run into scenes
almost like into a room where it's like it's not
really a full on sprint, it's just like the.

Speaker 3 (01:18:41):
Like the cramer. Yes, you've done a Cramer.

Speaker 2 (01:18:44):
I've done a Cramer. How to Stay Married?

Speaker 1 (01:18:46):
I always try to enter through a door at pace
and pete this it seems a derivative.

Speaker 3 (01:18:52):
We're gonna cut around this. No, no, no, no, this is
the one.

Speaker 1 (01:18:56):
This is definitely the one. These are all fun facts.
By the way, I did look up like other highest films,
one of the most famous highst films, and there was
a list that I saw and this was at number fourteen,
top highest film. Some of the films that came after
it were The Italian Job, which is great. We've covered

(01:19:18):
that on this podcast. The Ocean Films, Heat Inception.

Speaker 2 (01:19:22):
I Hate Reservoir.

Speaker 1 (01:19:24):
Dogs, Bonnie and Clyde the Usual Suspects amazing. We've covered
that film as well. American Animals Is for those who
haven't seen, is a great heighst film that was about
ten years ago, like.

Speaker 2 (01:19:36):
Independent film about an artist. It was great.

Speaker 1 (01:19:40):
Some of the films in front of it, so below
fourteen we're dog Day Afternoon. Great film, A fish called Wonder.

Speaker 3 (01:19:49):
I forgot about a fish Court.

Speaker 1 (01:19:51):
Yeah, we covered that with Xenro on this and the
movie that I actually watched a little bit of the.

Speaker 2 (01:19:58):
Other night and I love it. One of David A.
Russell's early films, Three Kings.

Speaker 3 (01:20:02):
I haven't seen.

Speaker 2 (01:20:03):
It's a great film directed by David A. Russell.

Speaker 1 (01:20:06):
Spike Jones is in it, who then goes on and directs,
you know, being John Malkovich and adaptation and George Clooney,
Ice Cube and Matt Wooburg and it's about it. It's
one of the first films that I saw, kind of
set in the Iraq War, you know, and it's about
three soldiers, four actor soldiers, who decide to steal Saddam
Hussein's gold in the final days of the Iraq War.

(01:20:28):
It's a great film. It's it's really cool.

Speaker 2 (01:20:32):
Other movies.

Speaker 1 (01:20:33):
Another great film that may have You may have missed
Hell or High Water from about five years ago, a
great film as well. The Number and and and other
films I hadn't heard of, the Ashfelt Jungle, Friends.

Speaker 2 (01:20:48):
Of Eddie Coyle, The Lady Killers.

Speaker 1 (01:20:50):
Which there come Brothers three made a while ago, and
the Lavender Hill Mob. There's some films I had, the
older films that I haven't heard much about.

Speaker 2 (01:20:58):
The Number one was.

Speaker 1 (01:20:59):
A film we have it on this podcast with Josh Earl,
The Taking of Palham one two three, which was remade
with Denzel Washington in I reckon the Nineties.

Speaker 2 (01:21:09):
But that's a train heist film. That's a good one.
That's good. It's Gene Hackman.

Speaker 3 (01:21:14):
Oh that's all. I love Gene the hack.

Speaker 2 (01:21:17):
Man, The hack Man, the hack Man.

Speaker 1 (01:21:20):
I love Geene Hackman so much that I deliberately avoid
hearing about what he's like because I heard. I heard,
I think through making some Wes Anderson films, The Royal
Tann and Arms, and he wasn't necessarily great to work with. Yeah,
so I'm just like, oh, well, I'm sure he was
just you know, you know, having a moment, but you
know it's.

Speaker 3 (01:21:38):
Not Yeah, you don't want to meet your heroes.

Speaker 1 (01:21:41):
You gotta be very careful speaking of meeting your heroes.
I saw thank God you're here, the congratulations you stormed
it again and the look on your face and how
you handled it.

Speaker 2 (01:21:52):
It made me laugh out loud.

Speaker 1 (01:21:55):
Russell Coit appears you're in like a hospital and they
pull back a curtain. There's another patient you need to see,
and it's Glenn Robins, the Great Glenn Robins as Russell
Koy And what was I mean? You don't expect celebrity
cameos in thank You'd never know what's about to happen
on that show.

Speaker 2 (01:22:14):
Yeah, and they're pushing it more and more and more.

Speaker 1 (01:22:17):
I've been honored to I was I did it in
its first incarnation, and I was a judge last year
and I'm judging again this year in an episode it's
such a thrill and in honor to be involved. And
then Jes pushing it more and more and the Haveitlenn.

Speaker 3 (01:22:32):
Was so oh my god, I literally got dizzy, like
I like I I didn't say this, but because the
when I was Heidi, who's one of the incredible like
actors as part of the Thank God the Troupe was
lying in the bed and I turned around and I
saw this little feet dangling behind the curtain, and just
very quickly I went out, there's a guy there. But

(01:22:53):
I didn't think anything of it because there's so much happening.
And then they pull the curtain back and I see
Russell Coy and I screamed, and I start dancing like
a toddler because my body is too overwhelmed. But I
looked at him and it was one of those outer
body experiences where I just got dizzy. I didn't hear
anything because I just went that's Glennom.

Speaker 2 (01:23:15):
Going wrong.

Speaker 3 (01:23:16):
I my mom and my brother and I used to
watch all those The Adventures all the time, like Kath
and Kim absolutely like stands loved it. And then I
just watched it and I was just like ah. And
then but this was the thing, because I was like,
that was amazing. And then going backstage and he's just
sitting there, hey going Frankie, and I was like, oh no,
I wasn't ready for this speed. I thought, you just

(01:23:38):
like dissolve no. And then I had to have a
conversation where God, I hope I was normal. I hope
I probably wasn't.

Speaker 1 (01:23:48):
I think Glenn's probably used to it a little bit
like but I'm sure you were. I'm sure you were.
And Glenny's so lovely and here's one of my absolutely
heroes and I go back him further with him, I'm
a comedy company and yeah and all that. So I
it's always a joy to be in his presence for me,
as all the working Dog people as well, you know,

(01:24:08):
Rob and Santo and Tom and all of them, Jane
and it's incredible. But he Yeah, he's this amazing career
where he means something different to almost each ten years
he's had something like comedy company, then Kathin Kim and
then Russell Koit like, yeah, very few people have that,

(01:24:29):
you know that many cracks like creating something that is
long lasting and has legacy.

Speaker 3 (01:24:34):
Yeah, and I think like the amount of people who
are like friends of mine who messaged me and were
just like what the hell, I'm like, yeah, he's got
such a hold on just like the entire Australian comedy
world of just everyone freaking out because he's just he's
done so much and he's so funny. And then we
were like chatting about just what like the Melbourne comedy

(01:24:57):
scene was like in terms of it was it used
to be. He said that he was doing it was
very much cabaret and like you'd have a lot of
characters you've had, like, yeah, like full variety rather than
it just being stand up. Yeah, and I feel like
that's happening a little bit more now, which is so cool.
But yeah, it was just wild and just straight away

(01:25:18):
just like had to call mom and be like, Mom,
don't don't say anything. You can't do the thing where
you say that and then you tell everyone, and yeah,
she freaked out. She was like, oh my god, what
do you mean, what's you like?

Speaker 1 (01:25:31):
Well, you tended to like maybe go over and watch
it with her and let's see her reaction it happened,
or you're probably too excited to you just needed to.

Speaker 3 (01:25:41):
She's in camera and I'm in Melbow, so we couldn't.
But she messaged me straight away, but just one of
those mom messages going I thought you were very good
and look at Russell and I was like, oh, thank you.

Speaker 1 (01:25:55):
But you had it so because you were like you
still had one hand and one foot in the scene
and one foot in the this is I'm having a
moment as a as a comedian, here as a moment,
and it was. It was actually a joy to watch
you straddle that moment and you can see the adrenaline

(01:26:16):
that was going through on the surprise and the shock
it was. If you haven't seen it beyond ten play,
I'm sure check it out. But mate, this this comes
with homework, this this podcast. You have done it to
a very high degree. Thank you so much for spending
time both watching the movie and with me. You are
absolutely killing it. We've gigged together quite a few times

(01:26:39):
and you're always a joy to watch. And hopefully there's
many more gigs we get to do.

Speaker 3 (01:26:44):
Thank you so much for having me the gift of
being able to watch a movie I hadn't seen. That
was just a highlight. I was so excited. This has
been so nice. Thank you so much.

Speaker 2 (01:26:54):
Your frank.

Speaker 1 (01:27:10):
Yes so good. I just wanted to hear it again
and again. So simple, but I enjoyed that very much,
both a score and chatting to Frankie McNair. So glad
Frankie enjoyed the movie. Like I said, because Frankie plays

(01:27:32):
his Tabitha Booth character, I thought she may have a
love or a penchant for old Hollywood, and I think
I was right. I think I was right. Frankie is amazing.
Whenever you see Frankie's name on a bill, get there,
Get there. Very funny, very funny, very talented. It's a

(01:27:56):
real joy to have her joining me today. If you're
enjoying the show, see nothing yet it comes to you
for free. You don't pay a single thing for it.
So I do ask that you can go to our
iTunes on our iTunes, nothing to do with it, to
be honest, but the iTunes page and give us a
rating and a review. I recommend five stars. But this

(01:28:17):
is a democracy, so do what you like and you
can leave a review, and it just helps the algorithm
move in a certain direction. The right direction for us
gets the word out there, which we love to do.
The podcast is doing very well. We're years into this now.
It's amazing. We're up over one hundred and fifty shows. Yeah,

(01:28:41):
absolutely loving it. Somebody left their review just recently, Meghan.
Thank you Meghan for leaving a five star review. She says,
the podcast is wonderful. I love this podcast, thoughtful and
funny reviews. Ellia is a genuine film lover and a
generous interviewer.

Speaker 2 (01:28:58):
Thank you. Meghan for that.

Speaker 1 (01:29:01):
We also had Brad say great podcast with enjoyable chats,
Pete picks excellent guests Yes I think I do, who
are generally laid and interesting. Discussion around favorite films has
sent me back to watch movies I haven't seen. Excellent podcast.
Thank you very much. I do love doing this podcast.
And one more from Debia Yasney rocks. I'm discovering how

(01:29:24):
much i love the detail and nuance of movies. I've
watched dozens of featured films after the episode to remind
me of what I loved or missed out on the
first time around. Enhances my film enjoyment no end.

Speaker 2 (01:29:37):
Thank you.

Speaker 1 (01:29:38):
Also this goes on to say, first of all, Yasney
live at Grapes of Mirth and binged all I could.
Straight after that, my perception of films and filmmaking forever reset.
Thanks Pete and your marvelous lineup of talent. Thank you,
and the guests are so good. And next week we
have an absolute beauty. We have a comedian whose star

(01:29:59):
has been rising for quite a few years now. You
may have seen him on The hundred with Andy Lee.
Mike Goldstein will be in the studio with me and
he will be covering a film which I've been wanting
to do for a long time. That's right, Mike Goldstein
will be covering The Big Chill. People have recommended or
suggested or asked, and we are delivering that for you

(01:30:21):
next week with Mike Goldstein. Until then, buck an.

Speaker 2 (01:30:24):
Out, and so we leave old Pete save fan soul,
and

Speaker 1 (01:30:38):
To our friends of the radio audience, we've been a
pleasant good name.

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