December 3, 2024 • 67 mins
This week, Devon and Doug talk about the 1944 film, Gaslight, starring Ingrid Bergman and Charles Boyer. The duo then silly their way around the movie’s influence of both art and psychology before absolutely perverting a few scenes they both loved and adored. Doug points out why the film shares direct DNA with the original Universal Monsters. Speaking of monsters, a new segment inspired by a mutual friend is introduced in this episode called “How Do We Sell This To Susan?” which is followed up by a caller named Phil from Apple Valley, where a recounting of “Gaslighting” is believed to have occurred.
About The Film
Gaslight is a 1944 American psychological thriller film directed by George Cukor, and starring Charles Boyer, Ingrid Bergman, Joseph Cotten and Angela Lansbury in her film debut. Adapted by John Van Druten, Walter Reisch, and John L. Balderston from Patrick Hamilton's play Gas Light (1938), it follows a young woman whose husband slowly manipulates her into believing that she is descending into insanity
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:01):
You're listening to Radio Free Reinkliffe.
Welcome to Studio Property, the cinema podcast for people like you.
I'm Doug Wartell.
And I'm Devin Irby.
And this week, we're going to be discussing Gaslight from 1944.
That was like 80 years ago.
(00:21):
I hadn't done the math, but I think you're correct.
Yeah.
I was the ripe old age of zero.
When this came out.
A twinkle in your father's eye.
Not even.
Not even.
I think he wasn't even born yet.
That's fair.
Neither was mine.
Well, let's move on because both of our dads suck.
(00:42):
You're welcome.
You're welcome for that.
All right.
So Gaslight is directed by George Cucor and it stars Charles Boyer, Ingrid Bergman, JosephCotton, Angela Lansbury in her first ever film role.
And she was like 17.
(01:03):
She was a baby when she was.
Yeah, she was a baby.
but apparently an amazing baby, because she was spectacular in it.
And my favorite, Dame May Witty.
Who does she play?
She plays Miss Bessie Thwaites.
She plays Bloodthirsty Bessie.
Yep, she plays.
(01:23):
In a pre-show, we had a conversation about Bloodthirsty Bessie, which we're going to tagat the end of this episode, because I'm not even going to try to recreate that magic.
Nope, nope.
But I do have to say.
Once I realized she was a dame, I was like, well, that's why she's so amazing asBloodthirsty Bessie, because, I mean, clearly they knew.
Although I should also point out Angela Lansbury also ended up becoming a dame.
(01:48):
okay.
I didn't know that either.
Is that like knighthood?
Is that how that works?
I think that is.
I think it's a, whatever the first level is of knighthood, I think there's tears ofaristocracy.
Dame and a sir are that first level?
(02:08):
It's the one they give people that aren't aristocratic But they feel like they need to dosomething nice because they've done like sir.
no, he's a nice yet.
No, no, I think that's right I think it's like for services rendered to The Empire do theystill say the Empire?
feel like it's
(02:28):
Maybe, any kind of.
To the Commonwealth, that's the phrase.
Services rendered to the Commonwealth.
Why do I know that?
Well, Gaslight is about a jewel-lusting jemoke in The Woman Who Loves Him.
It features some groundbreaking performances, some moody cinematography, and in myopinion, a parade of flimsy excuses.
(02:50):
But before we get to that, Devin hit the theme song.
All right.
The devil laughed out loud when you signed away your rotten soul That's studio property,your studio property, hey!
(03:12):
Shut your mouth or you'll never work in Hollywood again
Okay, so we're talking about gaslight, this is where the, this is I guess the origin ofthe phrase which is now used, tossed about loosely.
Yes.
(03:32):
So it means something very specific.
Yes, it does mean something very specific.
So in context of the film, why it's used as a, what do you say?
Colloquialism?
A colloquialism, psychology related colloquialism.
I think that'd Colloquialism or weeism?
Colloquial.
I think it's colloquial.
(03:53):
Colloquial.
Yeah, so colloquialism.
Trouble with the big words.
Well, I mean, we always have trouble with the big words and the big names.
Yeah.
So it specifically comes from this film because this film is an early psychologicalthriller, right?
So 1944, a fairly early cinema psychological thriller about
(04:17):
a husband who very specifically is trying to convince his wife that she's cuckoo.
Yes, he's methodical in his practice of this.
is.
And may I add that cuckoo is an inappropriate psychological term.
Apologies.
Yeah, don't say that.
No.
Don't say, nutter, crazy, loony.
(04:40):
Loony's probably bad.
Nope.
Yeah, yeah, bad.
But...
He is, the gas light- Quack, quack is also bad, sorry.
Quack is also bad, yes.
Bonkers.
Bonkers, I mean, we could come up with a lot.
Yeah.
But yes, so he is methodically trying to convince his wife that she's losing her mind.
(05:04):
And one of the aspects of that is an actual physical aspect revolving around the gaslights in this
late 19th century house.
So 1890s, a house would have gas lamps throughout the house.
So the house would be plumbed with gas and literally they sort of look like hurricanelamps.
(05:29):
They'd be up on the wall and then you turn it on and then you light a match and there'sliterally an open flame and it's, that's literally the gas light.
Now, I don't know how a lot of this works, but it sounds dangerous.
Like it looks dangerous even in the film.
Like stove is one thing, I guess a water heater, but like, but these are in every room ofthe house, right?
(05:52):
Like these little valves, where little bits of gas come out.
That seems kind of dangerous.
And a lot of times if you're looking at any sort of urban area, you're in row houses too.
So if you're, if you're loosey goosey with your gas, it doesn't just affect your property,affects every
(06:12):
every neighbor who's in your section of row houses.
At the same time, if you leave it even a little bit on, like if it's not tight, you don'thave the windows open, like I just imagine like...
I bet there's lots of stories about how lots of people died.
Or people just had more common sense back then.
I mean, that's a possibility.
Yeah.
But moving on, some of the pre-production of this film, right?
(06:36):
Yes.
Is very fascinating in its own right.
So this is actually, the film is actually a remake.
of a 1940 film, which you and I both saw.
We watched both versions of the film.
And it's odd because like to make a remake only four years away from the original,although the original wasn't as successful.
(06:58):
No.
And also on top of that, not only is it a film remake only four years out,
It's based on a play that was only made two years before that.
So the play came out in 38, then the first film in 40, and then the one we're discussingtonight in 44.
So it's interesting that they're all very smooshed together.
(07:18):
They're very, close together.
So a lot of franchise films nowadays have this sort of thing happening where they're like,I'm going to make this thing and then, but we just made this thing, but it's different
this time.
And so, yeah, so that's always happened.
That's always been a thing.
Interesting.
So some of the issues, the complaints we would have about the film industry have alwaysexisted.
(07:39):
Yeah.
We're not that many episodes in to have figured that out.
Yeah.
Look at us.
I know.
Achieving things.
Darn tootin' we are.
So one of the conditions of making this film were that the other prints of the originalwould have to be destroyed.
I mean, they didn't succeed, obviously, because we said that we saw the original, so weknow it didn't work.
(08:04):
Right.
The audacity to like pick up the phone and be like, you know, like you're putting a mobhit out on negatives before you're to proceed with your project.
Right.
Like, mean, that's just not something that that would would happen today.
That is not something that would be allowed to happen today.
But I suppose that was part of I mean, we are 44 is pretty much the heyday of the studiosystem.
(08:26):
Right?
As it stood, really the studio system where they ran everything into the studio system.
birth of it, right?
The birth of it.
Where literally actors signed contracts with a studio.
So they would just be on contract with a studio.
And you'd be on contract for however many films or however many years.
(08:48):
Right, until later on they would assume their power and make horny political thrillerslooking at you, Warren Beatty.
Like, yeah, so that's history, people.
So they picked up the phone and tried to put a hit out on this negative, didn't work.
And the original, we had to point out, is not too dissimilar.
(09:11):
No.
I mean, this one's of course way more fleshed out.
Yeah, yeah, this one's definitely more fleshed out.
They give you a lot more background on the relationship of the primary couple.
Which is, I would say, having seen both films, I appreciated that.
Because when watching the original film, I just thought, why is she buying into thecraziness?
(09:37):
Why is the wife buying into the craziness that the husband is trying to sell her?
Yeah, I mean, it right away.
starts right away.
Off to the douchebag races almost immediately.
Yeah, we were immediately.
Whereas this version, that relationship is fleshed out.
You've got some romance at the beginning, and so you get how he's able to sell her onthis, you're not well, you're mentally not well kind of idea, because they've got a
(10:04):
groundwork for him to build from.
Well, what's it, Anton Woolbrook plays the husband in the original.
Yes.
I immediately kept going watching it, because he was in it.
He's in The Life and Death of Colonel Blimp, one of my favorite movies of all time, whichwe'll eventually get to.
Yep.
but his performance is very different than Charles Boyer.
(10:25):
Charles Boyer is very seductive in the beginning.
Yes.
He's like if Pepe Le Pew continued, if he continued that story.
Paula, Paula.
Paula.
Paula, my love for you is like a flame.
Not the spark, but the flame.
And then he goes from that to like, you crazy bitch.
(10:47):
Go back inside, you're so crazy.
really does.
Stop stealing my stuff, you crazy bitch.
yeah, that's so accurate.
You're right, but the original version is definitely, he's just creepy from the beginning.
Right out of the gate, very mean, very creepy, and you're like, whoa, whoa, put the brakeson.
(11:13):
Or at least I was, I was like.
Red flags, red flags, take a step back.
Which do you think is the better looking of the two?
Ooh, I think...
It's time in the show for now a female perspective.
I have to say, I think Charles Boyer.
But I do think how he played it helped.
(11:34):
Because there was more of that romance.
And like you said, he's very seductive.
And I know one of the first scene we're going to talk about is about him putting on thatcharm.
And so to me- he love bombs the hell out of her.
Right, absolutely.
And so I feel like he was definitely the more seductive and handsome of the two if I had apick.
You know, okay.
(11:55):
My opinions on men who are now dead.
That dead guy is hot.
You know, sometimes they are.
You just gotta admit it.
Well, the cinematographer on the 1944 Gaslight was a guy named Joe Ruttenberg.
He was born in 1889 and he died in 1983, which by my math would make him 257 years old.
(12:20):
He a life.
was nominated an Oscar 10 times.
That's how incredible he is in his craft.
four.
I mean, that's a good statistic right there.
He also shot Dr.
Jekyll and Mr.
(12:40):
Hyde.
Ooh.
Which is where we get a lot of that like noir lighting in this film, right?
Now, there's three screenwriters on this version.
The first one is John Van Drutten, who went on to write Cabaret.
But the most interesting of the three, think, is John Bouldersted, who wrote the draftsfor like all of the original Universal Monsters that we know, like Dracula.
(13:06):
He wrote the draft of Frankenstein.
He ended up writing the final on Bride of Frankenstein and the Mummy.
So this husband character shares DNA with the original Universal Monsters.
Which explains why he is a monster.
Yeah, I mean, but I feel like he should be featured in whatever amusement park theming hasthese monsters in them.
(13:36):
Because he's just as terrifying and shot just as interesting.
it's interesting too.
I mean, when you really think about it as well, I love that the cinematographer, knowingthat he was so good at what he did and that he was nominated so many times and actually
won so many times.
Because when you're shooting in black and white, your lighting is kind of all you have toa degree.
(14:01):
But you can imagine it would be like a playground for him.
for sure.
I mean, the film's literally called Gaslight.
Right?
Like, so you're going to be playing with shadows and all kinds of moods.
All kind Yeah.
I mean, it's wonderful.
Well, let's get to some scenes.
Yes.
I mean, it's wonderful to this day.
It's 80 years old.
And I, and there's parts of it that you're like, wow.
(14:24):
Like I was hooked immediately.
Yeah.
So what's the first scene we should talk about?
Let's talk about when Gregory, Paula's husband,
is flirting with Nancy, the maid, the cockney maid as played by Angela Lansbury.
you know what, I have that clip right here if you want to.
(14:46):
flirting with Nancy right in front of Paola too.
Yeah, hold on, let's check this out.
how gorgeous she looks.
That accent gets me every time.
I am not Ryro Julia.
(15:15):
yeah, she like clearly doesn't like her.
Clearly doesn't like her.
It's so intense.
yeah, so he basically, I might've talked over her, but he very clearly told Nancy, shelooks beautiful on this evening.
Yes.
(15:36):
And then he's like, ooh, it's your night off.
You must be going out.
I happen to notice that you have a penchant for hot beat cops.
(15:57):
Which she does, by the way.
Which she does.
Yeah.
Are you going to be breaking their hearts too, Nancy?
Meanwhile, like, his wife is right there while this is all happening.
Right there with her back to them, but listening to everything with a mortified look onher face.
But also, she's in the foreground of the scene, not specifically this moment, but inthis...
(16:18):
scene in general.
She's in the foreground facing us while this is happening sort of behind her before theygo in tight.
Nancy, you're a fake who uses pretend makeup to alter your appearance to be moreattractive to men.
(16:48):
I just noticed that.
It's working.
I'm very attracted to you.
I'm attracted to your fakeness.
was wondering whether you might not care to pass some of your secrets on to your mistressand help her get rid of her father.
Sure, I'd be very pleased to do anything I can, Could you imagine?
(17:12):
I mean, what is that?
Your heavy makeup look.
I mean, I know it's fake, but you look spectacular.
Could you help my wife out?
she's clearly...
of her?
In front of her, because she's clearly looking a little worse for wear.
And it's the only time that Nancy actually kind of gives the, you know, Paula a nice look.
(17:36):
And that moment, she's almost like, damn.
She too is like, God, that was kind of- is Ingrid Bergman.
Right.
I mean, obviously this is part of the gaslighting, but like Ingrid Bergman lookingfantastic.
Like look at her hair.
It's incredible.
Right?
I mean, yes.
Yes.
you're a little busted.
Exactly.
(17:57):
Could you teach my wife how to do smokey eye?
Could you teach her?
I noticed you got it's a wonderful illusion because you're such a fake piece of s***.
Yes, exactly.
And as I say, you know, we walk, go into the beginning of the scene knowing that Nancy isnot a fan of her mistress.
This is the one moment where even Nancy's like, damn, yo, like that.
(18:22):
That's harsh.
Yeah, I'll help her.
Cause now I'm feeling bad.
It's like the one moment where she's like, that was even too far for me.
That was too far for me.
It's strange because it's almost like she's in that moment part flattered and part tryingto read the room.
Yes.
You know, trying to figure out what's going on.
Cause I guess that would be the other element that maybe isn't discussed as much as eventhough the gas lighting is directed towards Paula to a certain extent.
(18:52):
He's also very aggressively.
keep saying Paola.
Paola.
Sorry, can't help myself.
Paola.
He's aggressively attempting to manipulate Nancy as well, but manipulating her in a waythat's gonna help him in the end.
There's a few different textures of lighting.
The foreground is really brightly lit from the left to right, right?
(19:17):
But if you go in to the depth of where Nancy and Pepe Le Pew are sitting, it's sort oflike, it goes like sort of the medium light and in the back, the way the wall and also the
drapery.
Just this one shot paused as it is, the level of wealth.
(19:39):
It's also from an art production point of view as well.
think this movie really makes me feel like we've transitioned into
truly having depth in your scenery as well.
Yeah.
Because I've been watching a lot of, like I watched Frankenstein recently and a few otherolder things where you can still feel like you can tell the scenery is painted, right?
(20:03):
This, you feel like you're in the room.
I think we're getting to that era where it's starting to transition and you feel depth andit doesn't feel so fake and it feels a lot more real.
And you're absolutely right.
The lighting is just
adding to that, you're feeling it all.
It's got a realness to it.
Yeah, it just seems like three or four different, I don't wanna say shades is a little onthe nose, but like different tones of lighting as the field of vision goes backwards.
(20:30):
And it's wonderful.
And also we still, even though it's not perfect, we still actually have our gas lamp inthe scene pretty much the whole time.
And your attention's drawn to it still, even though it's not in the foreground.
Exactly.
Will that be all you're wanting?
Yes, except tea, monetier.
Very good,
(20:52):
eyebrows I was about to the exact same thing eyebrows Gregory how can you talk to Nancylike that you seem so anxious to regard the servants as your equals I thought they would
treat us one besides I was only trifling with no wonder that girl despises me the way youencourage her in this place whatever makes you think that the way she the way she talks to
(21:17):
me the way she looks at me looks at you
The drama.
Right?
What?
I hope.
You mean the maid I've been trifling with is giving you the stink eye?
How dare she?
I hope you're not starting to imagine things again.
here go.
we go.
(21:38):
Of course I'm not.
I hope you're not, but if you start talking about the way Nancy looks at you, turn away,Darling, have you not read the secret?
When you say it out loud, you're manifesting a destiny, darling.
Wait, Paula.
We must have this out.
Do you really think Nancy despises you?
(22:01):
Answer me, Paula.
Do you?
this performance.
I mean, we should point out she got best actress for this.
Yes.
She won an Academy Award.
Punch buggy.
Right?
I think her first one.
I think this was this her first one?
I'm going to have to double check because she won a couple of times.
She won a few times.
Yeah.
(22:21):
But she's also in Grid Bergman.
Of course she won more than one best actress.
The stages of her psychology breaking down are very pronounced.
And you can see the different levels before the end of the film.
Absolutely.
And what I love about the end of that scene too, the way Gregory is talking to her, it istextbook gaslighting at that point.
(22:45):
This is exactly why this is our colloquialism for
trying to convince somebody that they're not mentally well, that they are mentallyunsound.
Because he clearly flirted with the maid.
He's clearly flirting with the maid to, why, you're the one who said you wanted us totreat the staff like regular humans, like they're equals.
(23:08):
I'm just trifling with her.
What are you talking about?
Why are you getting so upset?
Of course she doesn't I flirt with all the regular folks.
Exactly.
I flirt with the regular people too.
you just see me outside with the neighbor outside.
She said hello and I was like, I'd love to see you in your panties.
I'm thinking I treat the help the same way.
(23:29):
You're pantaloons.
right, pantaloons at the time.
we're still 19th century, it's gotta be pantaloons.
That's hot.
But as the audience, now we're sort of like, this is probably stage two, right, with thepicture incident happened before this.
Yeah.
Right, so this is, we're not quite in the thick of it, but we're getting there.
Right.
(23:49):
In the thick of the gaslighting, as it were.
And I hope we did communicate clearly that yes, this film,
And the title of this film is where we get that term gaslighting from.
So the next scene I'd like to talk about is the concert.
Concerts, I don't know what to say.
(24:10):
They were all like this back then.
I don't know.
But this specific one was a piano concert, not held at a big concert hall or a theater,but rather a residence of a rich person.
This was a commissioned sort of situation.
So like a famous pianist, I guess, would come in and play Beethoven.
(24:31):
In this case, it's Beethoven's eighth, Pathetique, it's called, the eighth sonata.
And it takes place more like in a mansion parlor.
Does that sound accurate?
It does.
I feel like this is what the definition of salon is, right?
okay.
So your aristocracy or just, I guess if it was New York, you'd be Nouveau-Riche, right?
(24:55):
the rail barons or whoever they were, right?
You have lots of money, your house is enormous.
It's not a ball, so you're not going to the ballroom, but you're having a lot of peopleover and you're essentially, like you said, commissioning a small concert.
So I think it'd be in the salon and you get somebody famous in, because of course there'sno recordings.
This is how you're going to hear that music.
(25:16):
You don't have any choice but to hear it live.
And if you're wealthy enough to hire somebody to have a private concert.
I mean, I suppose it's the same as being able to afford Beyonce for your birthday party,right?
If you're, you know, well, what's term I'm thinking of?
you're...
Rich, that's what you're thinking.
(25:36):
Rich, no, was, yes, but no, what am I thinking of?
It's, you know, the modern version of if you are an oligarch and you can afford to haveBeyonce play at your birthday party.
Or if you're in the film, Jackass, you can afford the Stooges.
play at your birthday.
That happened.
I didn't just pull it out.
That guy did that and I'm still all these years later really jealous that that happened.
(26:02):
Guy had the Stooges play his birthday party.
Son of a bitch.
But yeah, moving on.
Yeah.
So what happens when you have stupid money?
Right.
But that was a technical term.
was an oligarch.
No, it's stupid money.
Same thing.
They mean the same thing.
Exactly the same thing.
(26:24):
But yes, so there is a lady who Paula knew when she was a small child who was invited intothis concert and Gregory does not want to go.
In fact, sends a note saying they're not going to go and Paula's like, no, no.
Let's be a little more clear about that.
He intercepted.
Yes.
(26:44):
The invitation and responded, she's not feeling well.
So we can't.
Now, mind you, in the background, peripheral of this whole thing, he's sort of givingeveryone outside of their home the same message that she's not herself.
Which is, yes, and which is also an aspect of the gaslighting, right?
(27:07):
It's not just about convincing her that she's mentally unwell.
It's convincing everybody around her that she's mentally unwell.
Which of course is part of the manipulation of the staff, not just Nancy, our seductivecockney maid.
but also Elizabeth the cook, right?
So he's convincing both of them as well that she's not okay.
Now mind you, Elizabeth the cook is an older maid who we'll get to, I'm assuming later inthe program, but she's, so there's two maids in the house.
(27:35):
There's Elizabeth and Nancy.
Elizabeth is the part deaf.
Yes, which is aiding Gregory in his shenanigans because poor Elizabeth can't catcheverything.
She can't hear it all.
Meanwhile, this, what's his name?
Officer?
Officer Brian.
(27:55):
Officer Brian Cameron.
I don't know.
Do we ever get a clear understanding?
He's not a beat cop.
He's not a standard constable.
He's kind of of seems like a detective.
Yeah, so maybe he's Detective Brian.
I mean, I suppose detectives did exist late 19th century England, right?
So maybe he was just a detective, but he's like, yeah.
(28:17):
Yeah, this is before Jack the Ripper.
no.
No?
When is Jack the Ripper?
When did that happen?
Sorry, England.
We don't really care to learn your history.
We're just learning it now.
It took us a minute.
we might be about the right time.
Because we don't get an exact date on this film, but the assumption based on theaesthetics would be 1890s, possibly 1880s.
(28:44):
So, 1888.
So actually...
Look at me guessing and I was correct.
We're about the same timeframe.
But you probably just looked at the clothes and were like, that's exactly the week Jackthe Ripper happened.
You were like, fashion, darling, fashion.
Basically, well, it was the fashion, but also it was the gas light.
(29:09):
Right.
Yeah.
the, you know, how you got, how you got, you know, power and such into your home betweenthe gas in your home.
And the fashion, I took a stab and I'm pretty sure I'm correct.
So we are at the concert and that's our opportunity to kind of get to know Officer Brian alittle bit.
(29:30):
we know he's a detective.
Or Detective Brian if you're nasty.
Right.
And it turns out he has been longtime friends with the lady who has invited him who ishosting the concert.
And of course, one of my favorite asides of the whole movie is her being like, I'mgonna...
sit you next to, and I can't remember her name, she's going to sit him next to some younglady and he's like, she's a mouth breather, no thank you.
(29:55):
Right.
And he's not happy about it.
Yeah.
And he gets stuck sitting next to this girl.
But while there, he witnesses this exchange between Gregory and Paula during the course ofthe concert, which is an amazing exchange, an amazing scene, and so well acted.
(30:16):
Earlier in the film, we had to point this out because this is sort of an Easter egg, as itwere, that pays off later in the film.
Paola shows Pepe Le Pew, her husband, a glove used to belong, by the the house used tobelong to her aunt who was a famous opera singer.
(30:38):
Yes.
She shows him a glove, like a bedazzled or jeweled glove or something, that
belong to her famous aunt.
And it's mentioned that the other glove was given to a secret admirer.
And that sort of leaves a little to the imagination that maybe she had a secret lover orsomething.
(31:01):
And also we should mention that her husband goes to the Tower of London and outwardlylusts over these jewels.
That we also find out were given to the aunt.
the set of these jewels, right?
How does that work?
So basically, the actual British royals in this is a real life thing, their fancy, crowns,the big fancy royal jewels are all housed at the Tower of London.
(31:31):
And they actually do have them on display for the general public, obviously under lock andkey.
But there is a display.
I've actually gone and done that.
It's pretty cool.
But the secondary storyline is that
a royal admirer had given a bunch of very fancy, expensive jewels to Paola's famous operasinging aunt.
(31:55):
And when the aunt was murdered, which I guess we kind of haven't mentioned, but honestly,it's the first thing that happens in the film is you find out she's dead.
We never meet her.
She's just dead from the beginning.
We just know she's been murdered.
but these jewels were never It's more important than we're letting on.
It's like the, it's the premise in which the whole film hangs.
Yeah, exactly.
But yes, so these, so she was given these very fancy jewels by a quote unquote royaladmirer.
(32:22):
And so yes, when Gregory is at the Tower of London looking at the other jewels, you canjust see in his eyeballs that he is super into the jewels.
I know, but it's like, it is very weird and lusty and.
It's gross.
believe we had a conversation about it.
Like I compared him to James Woods in that really bad Disney Notre Dame movie where he'slike, desire.
(32:45):
Yes.
Like it's very weird.
Hunchback of Notre Dame.
Notre Dame.
Sorry.
I should be better about the French.
Hunchback of Notre Dame.
It was awful, but I think it is good that we mentioned the aunt here instead of right atthe top because in the 2024 remake,
that I'm making right now in my mind, that's revealed a little deeper in the film and notout of the gate.
(33:13):
I like You know what mean?
Yeah, okay.
Also, again, this bloodthirsty Bessie, who we met on the train in the very beginning ofthe film, turns out to be one of her neighbors who is excited that someone is moving into
what was known for a while as the murder house.
(33:33):
So,
And again, in the remake, she's gonna be a true crime podcaster.
But the point of bringing this up as we continue on with the concert is there areperipheral characters outside wondering about this young woman living in the murder house.
(33:53):
curiosity is building outside of the horror movie that we're watching in thisrelationship.
Right.
So the concert is this perfect moment for people to get a real glimpse of what's going on.
So Detective slash Officer Brian gets to see this interaction between Gregory and Paola.
The lady who's hosting the concert aggressively sees it.
(34:16):
So literally, so everybody's sitting down and Paola seems very happy and she's excited.
And as you say, we're technically getting an actual concert in the film because there is afamous pianist who is playing Beethoven for us.
We know just before they go to the concert that Gregory has looked at his pocket watch andhad a smirky look on his face, right?
(34:40):
And so then we get into this scene and while the music's going, he pulls out his pocketwatch, but the pocket watch isn't attached to the chain.
And instead of waiting till the end of the concert to say anything, he quietly turns toPaola and says, my pocket watch is missing.
you take my pocket watch?" So Paula says, I did not take your pocket watch, but Gregorysnatched her purse from her.
(35:05):
So he snatches her purse.
He digs into the purse and he pulls out the pocket watch.
And of course, Paula falls apart and it's Ingrid Bergman at her best and she falls apartbeautifully.
And it should be quiet and they shouldn't be making a scene, but she can't handle it andshe loses it.
And the concert stops.
(35:27):
and it's embarrassing for everyone.
Including the audience, even it's so uncomfortable.
horrible.
Nobody wants to see anybody lose their crap, right?
Nobody ever wants to witness that.
So you feel like there's a combination of...
I got a backpedal on that.
Like at Disney World when stuff like that happens, I love it.
(35:50):
Okay, well, I mean, that is slightly different.
You can kind of watch at a distance and be like...
Wasn't me.
Right.
that's true.
You're not really stuck in the room.
Right.
In fancy attire with it.
In theory with people you know, right?
Because only a certain group of people have been invited to this concert.
So you probably actually know everybody there.
(36:12):
So they've been hearing, right?
So been hearing like tales, right?
Because as you said before, Gregory's been laying groundwork that she's not well.
And now he has forced her.
And I think this is,
forced her into kind of having this breakdown in front of all these people.
And it's really the first time when you really realize, yeah, this is on purpose.
(36:37):
I know the prior scene with the back and forth with Nancy the maid, you are suspicious,but it's not confirmed.
The concert is when I feel like you're like, that was fully on purpose.
I was gonna Yeah, no, you're right.
It feels like right at that moment, you're like, no, like this is an orchestrated plot tomake her look unwell in front of everyone.
(37:02):
Yeah.
And it's such a big way, like you said, the concert stuff- that's another one too.
bananas.
Yeah, bananas.
And you feel terrible.
don't know, bananas seems very gentle.
Maybe I'm wrong.
Maybe we should have had a psychologist on.
We're only a two person operation.
(37:23):
This is a situation.
Yeah, we're both very busy people We have both very busy people.
So but you and I have agreed that bananas is okay.
We can say that yeah, yeah He's making her out to be bananas while making her bananasExactly.
Yeah, you know since he rushes her out after he makes this scene.
(37:44):
Mm-hmm and We start to see Detective Brian
really get interested in the case now.
Yeah.
And this is the scene I'm excited to talk about as well, is the moment it's revealed thatDetective Bryan has become so interested in this case, not only because there was an
(38:07):
unsolved murder in the house, but because he is the secret admirer who has the otherglove.
Now, Detective Bryan is really, really young, and that's because he was a child.
who loved that aunt so much that she gave him that glove.
Almost like, you're my number one fan and gave him the glove.
(38:30):
And I thought that was a great reveal.
Yeah, especially because you learn it's such a sweet thing, right?
That it's not really a, it's not a romantic thing.
It's a little kid who thought she was amazing and she thought it was cute that this littlekid thought she was amazing.
And you're like, so cute.
It's sweet.
It's very sweet.
(38:50):
We should sort of fill this in a little bit before we get into the specific scene becausePepe Le Pew has been sneaking out of the house and telling Paola that he's composing in
like this sort of rented space, presumably down the block someplace, which she neverchecks.
No.
(39:10):
She never, because she doesn't really leave the house now.
No, no, she doesn't.
But how long is he composing this thing?
Well, and also...
He works only in the evening, and then makes her feel bad.
Part of the gaslighting is she, at one point is like, well, know, it's too noisy in thehouse.
I'm too much of a problem.
(39:31):
So he has to go to this office, this rented space to compose.
He's like, Paula, Paula, I got to go down the block.
I'm working on an opus called Chinese Democracy.
It's going to be amazing.
I got a guitar player named Buckethead.
It is going to be great.
(39:54):
But yeah, sorry.
good money to hear Charles Boyer say that line.
But what he's actually doing is finding a different route into the attic, which has beenboarded up from inside the house with all of her aunt's paraphernalia in it.
So he can search for the jewels that his, that her aunt has hidden someplace among herbelongings.
(40:18):
So Paola is in her room.
And of course, when he leaves for work,
quote unquote work, she's extremely agitated.
And then of course, as soon as he gets to that third floor and turns on the gas up there,then it makes her gas light dim.
So she sees the light dim, but thinks it's in her head.
(40:40):
Of course, poor, partially deaf cook Elizabeth can't hear any of the thudding, right?
So she can't hear anything going on.
And so how can- there's going on upstairs.
she can hear him.
And you hear him walking around, and it's not just that he's walking around, he's digginginto all the stuff.
there is a moment where we see him literally pull a knife out of a drawer and startcutting into velvet chairs and whatnot, because he's like, where are these jewels?
(41:06):
And he's cutting into sofas and trying to find things.
So she's hearing all of this.
But that third floor is supposed to be completely blocked off.
Nobody can get there.
So she has no idea, you know, shouldn't be anybody boarded up.
looks exactly like you think it looks like it's like two by fours across the door.
Yeah.
This door going to the VAT level going to the attic.
(41:30):
Yeah.
So yeah.
So she's, you know, she, the gas light has dimmed, which it shouldn't do, but you know,
It shouldn't do because it's only supposed to be light on her floor and then the floordownstairs where Elizabeth is.
So Detective Brian sees him going in, figures out that he's going in another way.
Because he's again, very interested in the case because he knows who's been murdered therebecause he was her number one fan.
(41:56):
Yep.
Figures out that when he goes, he can try to intercept or try to speak to Paola directly.
And what she does, he gets by the maid and speaks to her directly and tells her, look,you're not crazy.
This has been happening.
In fact, he's not even who you think he is.
Because he's been doing his homework and finds out that his real name is what, Deb?
(42:20):
Do you remember?
Sergius Bauer.
And the whole reason why he's been gaslighting her is because he had gotten a letteraddressed to that name.
And when she said the name out loud, he immediately had to drive her out of her mind.
So she would be an unreliable witness later.
Right.
(42:40):
If this were to come up in any kind of legal situation.
Exactly.
Because now she is a, she's a loose thread now.
She saw the letter with Syregus's name on it.
Suddenly she potentially could be, you know, she could be a problem.
So.
He's got to deal with And did Sergis had a wife?
Like he has like a whole other family or something, right?
(43:01):
That's the other thing.
Sergis is like Czech and has a wife.
And so their marriage isn't legal.
And so Detective Bryan's like, I'm really sorry, ma'am, but like your marriage isn't evenlegal.
And she's like, no, my marriage is legal.
And he's like, no, I'm really sorry, but it's not.
It's like a whole thing.
This is bigamy.
And it takes it to another level, right?
(43:21):
So not only is your husband
who love bombed you to even get you to marry him in the first place, trying to drive youout of your mind.
But it turns out he's also married to somebody else.
Right.
I mean, we learn nothing about, we don't ever learn what that situation is other than thatshe's somewhere.
(43:45):
Also, yeah, cause- And he's legally bound to Yeah, he's legally bound.
Eventually, one of the officers involved in this plot, in this caper, who's helpingDetective Brian, who pumped Nancy for information, because as we mentioned earlier, she
has a penchant for the beat cops.
(44:06):
Sure does.
she tends to let things slip.
They go in there and sort of rassle Pepe Le Pew and tie him up in a chair.
And then we get to the climactic ending, which I don't think we should.
you know, give away.
Not the first few episodes we were giving away endings, and I don't know if that's a greatidea.
But you guys can tell us.
(44:27):
You can find us on Instagram and let us know.
Yeah, yeah, let us I think here's a good, you know, I think what we'll do is we'll start aPatreon, right, but like a free one, because we don't have time for bonus content right
now.
And we're just starting out, who cares?
We'll start like a Patreon where we can go back and forth and you can tell us what youthink.
I like this idea.
(44:48):
I wrote it down.
Yeah, we'll get to it after the holiday.
So, okay.
That sounds good.
Maybe Instagram.
Okay.
I was going to say with any luck, maybe Tito will reach out and let us know.
I hope Tito calls again.
I he calls too.
But yeah, I just, we just had a whole production meeting, but like, feel like this iswhere we lead into one of the most incredible parts of Ingrid Bergman's whole performance
(45:15):
is her.
in real time unraveling the bananas.
Yes.
And piecing herself back together as she's speaking, which is wonderful.
It's brilliant.
Yeah, while confronting Pepe Le Pew.
And I think it is so good.
(45:36):
It's so good.
Well, his real name, I mean, he's not Pepe anymore.
He's Syracuse.
Gregory slash Syracuse.
Gregory, right.
Well, and I know in our Clue episode, we talked about, we went through the scene where Iwas like, okay, this is clearly why Jane Fonda won an Academy Award.
(46:01):
Granted, I know the whole film is impactful on it, but there is a scene specifically whereyou're like, this is what.
This is what sealed the deal.
is why she won.
This is what annihilated the competition.
Yes, this is what crushed everyone else.
This film is the same way where, as you say, like, literally we get to watch IngridBergman get her brain back and go, and kind of reverse through everything that Gregory
(46:28):
slash Saugus did to her throughout the entire film.
And it is a very epic, it's an epic scene.
It is amazing, everything about her is fantastic.
And you're like, that's why that girl won an Oscar.
That was easy.
yeah, I don't even know.
I didn't even know who she was up against.
(46:48):
Right.
You're like, well, that was an easy vote.
So you think this is the moment, like that's the moment where she.
Sealed the deal.
Definitely.
But we didn't look up what she was even up against, but like 1944 Oscars, which I think isthe 17th?
Right, the 17th Oscar?
(47:08):
Yeah, right, 1927 is the first year.
Is it 27 is the first year?
Yeah.
Wait, so hold on.
this be, the movie came out in 1944, so does that mean it was part of the 1945, right?
yeah, yeah, yeah.
I forget that.
Okay.
So then it would be the 17th.
Okay.
So that makes sense.
Okay.
Yay, I won.
(47:30):
Nothing.
did win.
Yes.
Okay.
So she is up against...
Claudette Colbert for Since You Went Away, Betty Davis for Mr.
Skeffington?
I never saw that one.
Me neither.
Greer Garson in Mrs.
Parkington.
Barbara Stanwyck in Double Indemnity.
(47:52):
Pretty stiff competition.
Pretty stiff competition.
mean, those are some heavy hitters.
Also, can I point out, I don't know if I said it before, but Angela Lansbury was alsonominated.
for actress in a supporting role for this film.
She did not win.
Who'd she lose to?
Ethel Barrymore for None But the Lonely Heart.
(48:15):
Huh.
And honestly, it's not something I've watched.
No, me neither.
I've not seen that.
No, but I mean, that's also pretty spectacular.
not only Yeah, that was her debut.
That was debut.
was 17.
She was 17 on this movie, right?
Yeah.
you know, okay, so like, you know the smoking scene, right?
Yes.
Yeah.
Right?
She couldn't film that to her.
(48:35):
They had to shoot that specifically on Angela Lansbury's 18th birthday.
That's awesome.
Also Charles Bourdieu, one of his children were born while making this film.
had to like fly home, fly back.
then, so they had like a party for him.
But also he's wearing the lifts in the film.
That's important.
(48:57):
Because he was the same height as Ingrid Bergman.
So he had to...
wear lifts to like sort of tower over her a little bit.
To look a little bit more intimidating?
Yeah, which is why he's not, there's no like full, full on shot of him.
It's usually from like the waist up.
that is a good point.
Or he's sitting down.
There's a lot of him sitting.
He also, can't imagine that he was any taller than Angela Lansbury, because she seems likea tall lady.
(49:22):
Also, Angela Lansbury looks exactly like you think she does.
Like, she looks exactly the way she did like,
two weeks before she passed away.
Yeah.
she's 17.
Like her face doesn't look that different.
it's amazing.
She was beautiful though.
Right.
And also I now realize she's on that list of women who aged really well.
(49:48):
she on the list?
Is there a list?
or is it the list in your head?
It's the list in my head.
It's the list in my head.
Who else is on the list?
well,
Let me see.
Well, of course, Jane Fonda, whether or not she's had work done is arguable and whatever,but I don't care.
(50:08):
feel still think she looks amazing.
then her surgeon is great if it is true.
Yeah.
If she had work done, they actually did a really nice job.
So gets a co-authorship for this.
This yo for sure.
De-aging.
know, yep.
Sophia Loren is another one that I think.
and Helen Mirren.
(50:29):
Helen Mirren, mean, what is that about?
Damn.
Share.
Share.
And I know Share's had work.
There's no way that she hasn't had work, but it's- But she didn't even look like she hadwork until like two weeks ago.
Right, exactly.
But it's clearly quality work.
Yeah.
Tasteful.
Tasteful, which as a complete aside, also makes me think the things that are popular nowfrom a plastic surgical standpoint, I-
(50:58):
just have no, what are those ladies gonna look like later?
The ones Like women that hang around Mar-a-Lago.
Yes, like ladies who hang around Mar-a-Lago.
And also the whole sucking out that weird buckle fat or whatever in your cheeks.
So like, like those ladies, there's a lot of them in Hollywood.
(51:19):
You see any look like they're, it's like they surgically get the Zoolander look.
Yes, they surgically get the Zoolander look.
They surgically implant blue steel on their own faces.
That's exactly what's happening.
Yeah.
Maybe that's how that should be advertised and maybe it wouldn't be popular anymore ifwe're just like, you just surgically had blue steel done to your face.
(51:41):
they'll be like, Like how tramp stamps ended the tramp stamp tattoo.
Yes, exactly.
Yeah, that's what it cancels the whole thing out.
Yeah, it does it just cancels.
Yeah, it cancels the whole thing out But yeah, I swear every time because it's so popularand it's ridiculous and it's like I don't know why you need to be okay You're trying to
(52:02):
you're trying to put to your face.
I'm trying to do it to your own face your fingers Cuz you know what I'm talking aboutwhere I'm like, yeah Well, and also I keep thinking I'm like, but you're literally trying
to fold your face in half to illustrate your point
You know, I'm a very gesturative hand talker.
(52:23):
don't just talk.
I can't just talk.
I've got to use my hands.
I've got to mine it and use my face as well.
It's always big.
Yeah, I can't help it.
Sorry to everybody at home who cannot see my crazy actions right now.
So of course, you know, we can't, I don't want to give away the ending.
(52:47):
But it's what, I mean, the ending's wonderful.
It is also the moment, like to your point, where Ingrid Bergman sealed the deal on herOscar.
So now we have to figure out our new segment.
yeah.
Which is how do we sell this to Susan?
Now a little bit of backstory.
(53:08):
Susan is a mutual friend of Devin and I, who is very dismissive of any recommendation youmight make about anything.
yeah, about That's like her first, like her knee jerk response.
always, always.
And also her attention span.
Hmm, true.
Leaves a little to be desired.
how would you sell this to Susan?
(53:30):
I think I would sell it to Susan.
I'd start with the psychological thriller aspect.
It is...
You wouldn't be honest and be like, this is kind of the story of your current boyfriend?
By the way, Susan's not listening and we didn't, you know, so we don't have to.
Yeah, we know that.
No, I probably...
bother changing your name.
Nope, no, I wouldn't go down that road.
(53:51):
I'm gonna...
Yeah.
No, but I'd probably go down like psychological thriller.
Like, you do enjoy a good psychological thriller and this, albeit a much older film thanyou would normally watch, it hits all those notes.
It hits all those notes.
(54:12):
It's...
I think it starts a domino effect.
It really does.
It starts a domino effect and she'll immediately break up with.
Okay.
Yep.
Yep.
Yeah.
But again, we kind of sell it to her first.
That's right.
We got to sell it to her first.
And then she's a little like me and she wants to be a slightly feminist while also being akind of caddy and gossipy.
(54:42):
Right.
So, you know, like
I pull for Ingrid Bergman the whole time because I'm like girl figure it out Figure outthat he is a jack wagon and you need to give him the boot while at the same time You know,
I'm loving watching her fall apart Did you describe Susan as feminist?
(55:05):
I Said kind of feminist.
Okay.
Yeah, cuz yeah, that's you're being really nice I am really nice.
You're saying like kind of feminist to be clear like how like
some Spice Girls lyrics are kind of feminist.
All right, I mean, you're not wrong.
You're not wrong.
Right, so, but to your point though, if you could sell like that, like, you know, girl,there's girl power.
(55:27):
Yeah.
Yeah, you go girl and stuff.
Girl.
Girl.
You need to watch this, cause girl, there's power.
girl.
it, yeah.
Right.
We got a call, hold on, I'm gonna pick it up.
You wanna answer it this time?
No, no, you answer.
I'm scared to talk to strangers.
(55:48):
know this.
Radio Free Ryan Cliff.
Yeah.
Yeah.
Hey, this is Phil from Apple Valley.
I heard you guys talking.
You're talking to right?
Do they call the right place?
Is this is this a studio poverty property?
Property poverty.
Property.
Yeah, it's studio.
I'm sorry.
I'm sorry.
I'm sorry.
(56:09):
I realize that as I saying it.
That wasn't it.
That's funny.
Anyway, hi, we're studio poverty the cinema podcast just for the poor.
Good.
I'll fit right in Hey, so you're talking about you guys are talking about a movie that'sabout gaslighting someone and I Have been gaslit Is that you were gaslighting by?
(56:36):
gaslit by Deb who I was going out with
We were going out for a while and then she you're from Apple Valley, you said?
Yeah, yeah, yeah.
Where was that?
Down in...
Down...
You know, it's east of Poughkeepsie.
East?
Yeah, think it's east.
Poughkeepsie.
Is it like a farm or something?
is it where you go apple picking?
(56:58):
Or is that a town?
There's no apples in Apple Valley.
I mean, it was right there in the name.
Well, that's an interesting factoid.
Maybe there used to be, you know, to get the name, but then...
people built houses and stuff.
anyway, so I was dating this girl Deb, she totally gas lit me.
And so we were talking and she says, said, Yeah, this is Deb, we're going out.
(57:22):
And she said, No, we're not.
I was like, what do you, what do you gaslighting me?
She said, I don't know what that is.
But I was like, this is it.
This is what they say.
This is gas lighting.
She says,
Were you did we actually dating her when this happened or did you think yeah?
were going out.
We've been going out for a couple months We were going out for two two or three months,and then she comes to me and she says you know what?
(57:44):
We're not going out.
I said wait a minute.
We've been going out this whole time She said you know what not anymore, and I was likeyou're gaslighting me Was she gaslighting you or was she just breaking up with you?
This is gaslighting I I
I think I got it right.
think I know what gaslighting is.
No, no.
I'm not sure.
No, doesn't sound like it.
(58:04):
Tell us more.
Yeah.
If you think one thing and someone thinks someone else, then that's gaslighting.
No, If I'm...
If you wanted to change somebody's mind, you would just turn up the gas in the house andgo out and wait until they change their mind, right?
Okay.
I think you're actually thinking about like carbon monoxide poisoning.
(58:27):
I don't, that's, which is not the same as gaslighting.
Gaslighting is psychological carbon monoxide poisoning is you need to go to the hospital.
You're physically altering a person.
Yeah.
Deb was saying to me, Deb was saying to me, you're not my boyfriend anymore.
And then suddenly she's going out with Len and Len, he was a friend of mine.
And I said, Len, that was my girlfriend.
(58:48):
He goes, she's my girlfriend now.
So listen to this.
She's on my bowling team.
So I still see her all the time.
And so is Len.
The name of our team is the Gaslighters.
What?
Wait, that's the name of your bowling team?
Yeah, yeah, yeah.
Who named your team?
This team's been around for a long time, a long time, and they've been the Gaslighterssince before I was there, before I was born, I think.
(59:12):
I mean, there's nobody old on it now.
It's mostly young people.
But before it was a lot of old guys and they would say we're Was it like Menudo?
Like they age out of the bowling team and then replace you with younger people?
That's what it sounds like to me.
Maybe I've been new menudo.
Maybe that's what I'm being.
I think I'm being menudo'd.
(59:35):
She's just passing me on for someone younger like a menudo.
You know what?
I think that's exactly what's happening.
I think we got to the bottom of this.
Yep.
Yep.
I think we've answered your question.
So I'm not guessing.
were just menudo'd.
You were just menudo'd.
I gotta tell her that.
You're menudoing me.
That's right.
Also, Phil, sounds like you need a new bowling team, man.
(59:56):
I don't think you should bowl with with Len and Deb anymore.
Maybe I'll start one called Menudo.
You know what?
You should.
You should.
I highly recommend doing that.
By the way, how long you been listening to the show?
I've been I've been listening.
I don't know.
Since you've been on what for the last two, three years, you guys, you guys are we'reabout two, three weeks old.
(01:00:20):
Weeks.
Are you menudo in me?
No, we're not many.
No, no, we're two or three only been on for like three weeks.
Yeah.
Yeah.
Yeah.
You guys are good.
What do you what you were talking about?
The movie.
Now the name.
Have you ever seen it?
How do you forgot the name?
It's the name of your bowling team.
(01:00:40):
I was listening to you.
I was listening to you guys talking about it.
I really like listening to you guys talk about movies that I do know.
But I also like hearing you guys talk about movies I don't know because then it tells methe things to look out for if I do see them.
I watched that one, the conversation one that you were talking about.
(01:01:02):
The, yeah.
Did you know I watched it?
I watched it by myself.
No one was with me.
and watching it with Gene Hackman.
No, okay.
wait a minute.
You're joking me.
Gene Hackman's the guy in the movie.
I get it.
I get it.
No, yes, I did see the conversation with Gene Hackman and it was good, but it was goodbecause I had heard you guys talking about it.
(01:01:31):
And even though I knew a couple of things that was coming, it was still a surprise.
It was really a lot of fun to watch that movie after you guys talked about it.
Well, next week we're going to be doing Shoplifters.
It's a Japanese movie.
What year did that come out?
2018.
So it's, you know, it's.
More modern.
Yeah, more modern things we've covered so far.
(01:01:51):
you're going to watch this next week?
Yes.
Yeah.
We're going to talk about it next week.
I don't think I can learn Japanese in a week.
No, there's subtitles.
There's subtitles, yeah.
Are they, you know, are they the fast kind of subtitles?
Like you go, I got to pause this frame because those are, sometimes there's just too muchtalk.
(01:02:15):
I don't think so.
Watch it dubbed.
I mean, I feel like it loses something, but if you watch it dubbed, that might help.
Yeah.
Yeah.
I like it when the Chinese and the Japanese movies are dubbed by Australian guys.
This is the funniest thing.
(01:02:36):
You know, you know, you know, this movie, I like a lot of John Woo films.
You know who John Woo is?
John Woo is a director.
John Woo.
I like these John Woo.
Let me see if I can do this with my Lenny and I would watch this.
We laugh so hard.
This guy would come in.
One of the movies is called Hard Boiled and it's got Chow Fat Yun, Chow Fat Chow, Chow YunSat.
(01:02:59):
I got it back with Chow Yun Sat and and the detectives and everything and he comes up and.
The guy with the Australian accent goes, I'm had boiled.
We would rewind it over and over because we're had boiled.
(01:03:19):
And was this Japanese guy saying it was so funny.
Watch Australian dubs and Japanese films.
Well, we're going to be watching Shoplifters next week.
We'll be talking about that.
And I would have done it.
did you Australia guys say shoplifting?
This job short lifted short lifted.
(01:03:41):
I mean, that kind of sounded more Boston and Australian.
But yeah, I don't do I think there's a correlation, Deb.
I think there's a direct correlation.
We just haven't established it yet.
Also, yeah, I will say it's wonderful that you called in, but we have if we could beserious for a minute.
You just mentioned that you used to watch films like that with your best friend who's nowleft you for your girlfriend.
(01:04:06):
And that's very sad.
And I want to acknowledge that.
And that we're very sorry to hear that.
Regardless of the circumstances and whatever they did to you is specifically called, theyhurt you.
And that's not great.
We do not approve.
No, not at all.
know, life goes on.
(01:04:29):
I got a very nice girlfriend now and things are good, they're fine.
She doesn't bowl though, so there's that.
Well, maybe it's good that she doesn't bowl.
Maybe you could teach her to bowl or watch movies together.
yeah.
Well, maybe we'll watch this Japanese shoplifting movie.
(01:04:52):
We'll see that.
Yeah.
Yeah, that sounds great.
I love it.
Well, thank you for calling in.
Hey, thank you.
You're doing a great job.
I love your show.
It's a lot of fun.
can do it too.
Listening to two talking about movies is comforting.
It's very nice.
Thank you.
It's very nice compliment.
Thanks for calling in, Phil.
Look at that.
You know, we get like one caller a week, And I still feel like we need a call screener.
(01:05:18):
Yeah, you might be right.
You might be right.
But I have to say, like, you know, Phil called in at the end of the show, which is good.
And I think that's a great way to end the show.
It is a nice way to end the show, isn't it?
Especially after he said he had a new girlfriend.
That made me happy.
That made me happy too.
And with that being said, we are your studio property.
(01:05:39):
My name is Doug Wartell.
I'm Devin Erby.
And let's try to come up with a catchphrase right about here.
Okay, yeah.
And we'll just keep doing it from week to week until one sticks, unless we nail it out ofthe gate.
Do you want to take the first turn?
ooh.
my brain's not working.
Okay.
(01:06:00):
keep on reeling.
yeah, that wasn't good.
Sorry.
No, Maybe I should have done.
Studio property is mixed at spillway street content and red hook New York and syndicatedon radio free Reinkliff theme song by the corner of Bodega.
Be sure to subscribe to the podcast and follow us on Instagram at studio property show.
(01:06:20):
Thanks for listening and we'll catch you next week.
she said bloodthirsty Bessie in the 2024 remake would be like a true crime podcaster.
(01:06:41):
yeah.
she would.
Yes, he would.
I don't know if ever listen to that crap.
Hold on.
We have a soundboard in this app.
I want to see if there's like murder music.
Let's see.
It's bloodthirsty Betsy.
(01:07:02):
It's summertime in New York.
And you know what that means.
It's time for a David Berkowitz bonanza.
Stacey Moskowitz was a 17 year old girl on her first date.
That was perfect.
music was great.
was amazing.
That was so good.
You're listening to Radio Free Reinkliffe.
Welcome to Studio Property, the cinema podcast for people like you.
I'm Doug Wartell.
And I'm Devin Irby.
And this week, we're going to be discussing Gaslight from 1944.
That was like 80 years ago.
(00:21):
I hadn't done the math, but I think you're correct.
Yeah.
I was the ripe old age of zero.
When this came out.
A twinkle in your father's eye.
Not even.
Not even.
I think he wasn't even born yet.
That's fair.
Neither was mine.
Well, let's move on because both of our dads suck.
(00:42):
You're welcome.
You're welcome for that.
All right.
So Gaslight is directed by George Cucor and it stars Charles Boyer, Ingrid Bergman, JosephCotton, Angela Lansbury in her first ever film role.
And she was like 17.
(01:03):
She was a baby when she was.
Yeah, she was a baby.
but apparently an amazing baby, because she was spectacular in it.
And my favorite, Dame May Witty.
Who does she play?
She plays Miss Bessie Thwaites.
She plays Bloodthirsty Bessie.
Yep, she plays.
(01:23):
In a pre-show, we had a conversation about Bloodthirsty Bessie, which we're going to tagat the end of this episode, because I'm not even going to try to recreate that magic.
Nope, nope.
But I do have to say.
Once I realized she was a dame, I was like, well, that's why she's so amazing asBloodthirsty Bessie, because, I mean, clearly they knew.
Although I should also point out Angela Lansbury also ended up becoming a dame.
(01:48):
okay.
I didn't know that either.
Is that like knighthood?
Is that how that works?
I think that is.
I think it's a, whatever the first level is of knighthood, I think there's tears ofaristocracy.
Dame and a sir are that first level?
(02:08):
It's the one they give people that aren't aristocratic But they feel like they need to dosomething nice because they've done like sir.
no, he's a nice yet.
No, no, I think that's right I think it's like for services rendered to The Empire do theystill say the Empire?
feel like it's
(02:28):
Maybe, any kind of.
To the Commonwealth, that's the phrase.
Services rendered to the Commonwealth.
Why do I know that?
Well, Gaslight is about a jewel-lusting jemoke in The Woman Who Loves Him.
It features some groundbreaking performances, some moody cinematography, and in myopinion, a parade of flimsy excuses.
(02:50):
But before we get to that, Devin hit the theme song.
All right.
The devil laughed out loud when you signed away your rotten soul That's studio property,your studio property, hey!
(03:12):
Shut your mouth or you'll never work in Hollywood again
Okay, so we're talking about gaslight, this is where the, this is I guess the origin ofthe phrase which is now used, tossed about loosely.
Yes.
(03:32):
So it means something very specific.
Yes, it does mean something very specific.
So in context of the film, why it's used as a, what do you say?
Colloquialism?
A colloquialism, psychology related colloquialism.
I think that'd Colloquialism or weeism?
Colloquial.
I think it's colloquial.
(03:53):
Colloquial.
Yeah, so colloquialism.
Trouble with the big words.
Well, I mean, we always have trouble with the big words and the big names.
Yeah.
So it specifically comes from this film because this film is an early psychologicalthriller, right?
So 1944, a fairly early cinema psychological thriller about
(04:17):
a husband who very specifically is trying to convince his wife that she's cuckoo.
Yes, he's methodical in his practice of this.
is.
And may I add that cuckoo is an inappropriate psychological term.
Apologies.
Yeah, don't say that.
No.
Don't say, nutter, crazy, loony.
(04:40):
Loony's probably bad.
Nope.
Yeah, yeah, bad.
But...
He is, the gas light- Quack, quack is also bad, sorry.
Quack is also bad, yes.
Bonkers.
Bonkers, I mean, we could come up with a lot.
Yeah.
But yes, so he is methodically trying to convince his wife that she's losing her mind.
(05:04):
And one of the aspects of that is an actual physical aspect revolving around the gaslights in this
late 19th century house.
So 1890s, a house would have gas lamps throughout the house.
So the house would be plumbed with gas and literally they sort of look like hurricanelamps.
(05:29):
They'd be up on the wall and then you turn it on and then you light a match and there'sliterally an open flame and it's, that's literally the gas light.
Now, I don't know how a lot of this works, but it sounds dangerous.
Like it looks dangerous even in the film.
Like stove is one thing, I guess a water heater, but like, but these are in every room ofthe house, right?
(05:52):
Like these little valves, where little bits of gas come out.
That seems kind of dangerous.
And a lot of times if you're looking at any sort of urban area, you're in row houses too.
So if you're, if you're loosey goosey with your gas, it doesn't just affect your property,affects every
(06:12):
every neighbor who's in your section of row houses.
At the same time, if you leave it even a little bit on, like if it's not tight, you don'thave the windows open, like I just imagine like...
I bet there's lots of stories about how lots of people died.
Or people just had more common sense back then.
I mean, that's a possibility.
Yeah.
But moving on, some of the pre-production of this film, right?
(06:36):
Yes.
Is very fascinating in its own right.
So this is actually, the film is actually a remake.
of a 1940 film, which you and I both saw.
We watched both versions of the film.
And it's odd because like to make a remake only four years away from the original,although the original wasn't as successful.
(06:58):
No.
And also on top of that, not only is it a film remake only four years out,
It's based on a play that was only made two years before that.
So the play came out in 38, then the first film in 40, and then the one we're discussingtonight in 44.
So it's interesting that they're all very smooshed together.
(07:18):
They're very, close together.
So a lot of franchise films nowadays have this sort of thing happening where they're like,I'm going to make this thing and then, but we just made this thing, but it's different
this time.
And so, yeah, so that's always happened.
That's always been a thing.
Interesting.
So some of the issues, the complaints we would have about the film industry have alwaysexisted.
(07:39):
Yeah.
We're not that many episodes in to have figured that out.
Yeah.
Look at us.
I know.
Achieving things.
Darn tootin' we are.
So one of the conditions of making this film were that the other prints of the originalwould have to be destroyed.
I mean, they didn't succeed, obviously, because we said that we saw the original, so weknow it didn't work.
(08:04):
Right.
The audacity to like pick up the phone and be like, you know, like you're putting a mobhit out on negatives before you're to proceed with your project.
Right.
Like, mean, that's just not something that that would would happen today.
That is not something that would be allowed to happen today.
But I suppose that was part of I mean, we are 44 is pretty much the heyday of the studiosystem.
(08:26):
Right?
As it stood, really the studio system where they ran everything into the studio system.
birth of it, right?
The birth of it.
Where literally actors signed contracts with a studio.
So they would just be on contract with a studio.
And you'd be on contract for however many films or however many years.
(08:48):
Right, until later on they would assume their power and make horny political thrillerslooking at you, Warren Beatty.
Like, yeah, so that's history, people.
So they picked up the phone and tried to put a hit out on this negative, didn't work.
And the original, we had to point out, is not too dissimilar.
(09:11):
No.
I mean, this one's of course way more fleshed out.
Yeah, yeah, this one's definitely more fleshed out.
They give you a lot more background on the relationship of the primary couple.
Which is, I would say, having seen both films, I appreciated that.
Because when watching the original film, I just thought, why is she buying into thecraziness?
(09:37):
Why is the wife buying into the craziness that the husband is trying to sell her?
Yeah, I mean, it right away.
starts right away.
Off to the douchebag races almost immediately.
Yeah, we were immediately.
Whereas this version, that relationship is fleshed out.
You've got some romance at the beginning, and so you get how he's able to sell her onthis, you're not well, you're mentally not well kind of idea, because they've got a
(10:04):
groundwork for him to build from.
Well, what's it, Anton Woolbrook plays the husband in the original.
Yes.
I immediately kept going watching it, because he was in it.
He's in The Life and Death of Colonel Blimp, one of my favorite movies of all time, whichwe'll eventually get to.
Yep.
but his performance is very different than Charles Boyer.
(10:25):
Charles Boyer is very seductive in the beginning.
Yes.
He's like if Pepe Le Pew continued, if he continued that story.
Paula, Paula.
Paula.
Paula, my love for you is like a flame.
Not the spark, but the flame.
And then he goes from that to like, you crazy bitch.
(10:47):
Go back inside, you're so crazy.
really does.
Stop stealing my stuff, you crazy bitch.
yeah, that's so accurate.
You're right, but the original version is definitely, he's just creepy from the beginning.
Right out of the gate, very mean, very creepy, and you're like, whoa, whoa, put the brakeson.
(11:13):
Or at least I was, I was like.
Red flags, red flags, take a step back.
Which do you think is the better looking of the two?
Ooh, I think...
It's time in the show for now a female perspective.
I have to say, I think Charles Boyer.
But I do think how he played it helped.
(11:34):
Because there was more of that romance.
And like you said, he's very seductive.
And I know one of the first scene we're going to talk about is about him putting on thatcharm.
And so to me- he love bombs the hell out of her.
Right, absolutely.
And so I feel like he was definitely the more seductive and handsome of the two if I had apick.
You know, okay.
(11:55):
My opinions on men who are now dead.
That dead guy is hot.
You know, sometimes they are.
You just gotta admit it.
Well, the cinematographer on the 1944 Gaslight was a guy named Joe Ruttenberg.
He was born in 1889 and he died in 1983, which by my math would make him 257 years old.
(12:20):
He a life.
was nominated an Oscar 10 times.
That's how incredible he is in his craft.
four.
I mean, that's a good statistic right there.
He also shot Dr.
Jekyll and Mr.
(12:40):
Hyde.
Ooh.
Which is where we get a lot of that like noir lighting in this film, right?
Now, there's three screenwriters on this version.
The first one is John Van Drutten, who went on to write Cabaret.
But the most interesting of the three, think, is John Bouldersted, who wrote the draftsfor like all of the original Universal Monsters that we know, like Dracula.
(13:06):
He wrote the draft of Frankenstein.
He ended up writing the final on Bride of Frankenstein and the Mummy.
So this husband character shares DNA with the original Universal Monsters.
Which explains why he is a monster.
Yeah, I mean, but I feel like he should be featured in whatever amusement park theming hasthese monsters in them.
(13:36):
Because he's just as terrifying and shot just as interesting.
it's interesting too.
I mean, when you really think about it as well, I love that the cinematographer, knowingthat he was so good at what he did and that he was nominated so many times and actually
won so many times.
Because when you're shooting in black and white, your lighting is kind of all you have toa degree.
(14:01):
But you can imagine it would be like a playground for him.
for sure.
I mean, the film's literally called Gaslight.
Right?
Like, so you're going to be playing with shadows and all kinds of moods.
All kind Yeah.
I mean, it's wonderful.
Well, let's get to some scenes.
Yes.
I mean, it's wonderful to this day.
It's 80 years old.
And I, and there's parts of it that you're like, wow.
(14:24):
Like I was hooked immediately.
Yeah.
So what's the first scene we should talk about?
Let's talk about when Gregory, Paula's husband,
is flirting with Nancy, the maid, the cockney maid as played by Angela Lansbury.
you know what, I have that clip right here if you want to.
(14:46):
flirting with Nancy right in front of Paola too.
Yeah, hold on, let's check this out.
how gorgeous she looks.
That accent gets me every time.
I am not Ryro Julia.
(15:15):
yeah, she like clearly doesn't like her.
Clearly doesn't like her.
It's so intense.
yeah, so he basically, I might've talked over her, but he very clearly told Nancy, shelooks beautiful on this evening.
Yes.
(15:36):
And then he's like, ooh, it's your night off.
You must be going out.
I happen to notice that you have a penchant for hot beat cops.
(15:57):
Which she does, by the way.
Which she does.
Yeah.
Are you going to be breaking their hearts too, Nancy?
Meanwhile, like, his wife is right there while this is all happening.
Right there with her back to them, but listening to everything with a mortified look onher face.
But also, she's in the foreground of the scene, not specifically this moment, but inthis...
(16:18):
scene in general.
She's in the foreground facing us while this is happening sort of behind her before theygo in tight.
Nancy, you're a fake who uses pretend makeup to alter your appearance to be moreattractive to men.
(16:48):
I just noticed that.
It's working.
I'm very attracted to you.
I'm attracted to your fakeness.
was wondering whether you might not care to pass some of your secrets on to your mistressand help her get rid of her father.
Sure, I'd be very pleased to do anything I can, Could you imagine?
(17:12):
I mean, what is that?
Your heavy makeup look.
I mean, I know it's fake, but you look spectacular.
Could you help my wife out?
she's clearly...
of her?
In front of her, because she's clearly looking a little worse for wear.
And it's the only time that Nancy actually kind of gives the, you know, Paula a nice look.
(17:36):
And that moment, she's almost like, damn.
She too is like, God, that was kind of- is Ingrid Bergman.
Right.
I mean, obviously this is part of the gaslighting, but like Ingrid Bergman lookingfantastic.
Like look at her hair.
It's incredible.
Right?
I mean, yes.
Yes.
you're a little busted.
Exactly.
(17:57):
Could you teach my wife how to do smokey eye?
Could you teach her?
I noticed you got it's a wonderful illusion because you're such a fake piece of s***.
Yes, exactly.
And as I say, you know, we walk, go into the beginning of the scene knowing that Nancy isnot a fan of her mistress.
This is the one moment where even Nancy's like, damn, yo, like that.
(18:22):
That's harsh.
Yeah, I'll help her.
Cause now I'm feeling bad.
It's like the one moment where she's like, that was even too far for me.
That was too far for me.
It's strange because it's almost like she's in that moment part flattered and part tryingto read the room.
Yes.
You know, trying to figure out what's going on.
Cause I guess that would be the other element that maybe isn't discussed as much as eventhough the gas lighting is directed towards Paula to a certain extent.
(18:52):
He's also very aggressively.
keep saying Paola.
Paola.
Sorry, can't help myself.
Paola.
He's aggressively attempting to manipulate Nancy as well, but manipulating her in a waythat's gonna help him in the end.
There's a few different textures of lighting.
The foreground is really brightly lit from the left to right, right?
(19:17):
But if you go in to the depth of where Nancy and Pepe Le Pew are sitting, it's sort oflike, it goes like sort of the medium light and in the back, the way the wall and also the
drapery.
Just this one shot paused as it is, the level of wealth.
(19:39):
It's also from an art production point of view as well.
think this movie really makes me feel like we've transitioned into
truly having depth in your scenery as well.
Yeah.
Because I've been watching a lot of, like I watched Frankenstein recently and a few otherolder things where you can still feel like you can tell the scenery is painted, right?
(20:03):
This, you feel like you're in the room.
I think we're getting to that era where it's starting to transition and you feel depth andit doesn't feel so fake and it feels a lot more real.
And you're absolutely right.
The lighting is just
adding to that, you're feeling it all.
It's got a realness to it.
Yeah, it just seems like three or four different, I don't wanna say shades is a little onthe nose, but like different tones of lighting as the field of vision goes backwards.
(20:30):
And it's wonderful.
And also we still, even though it's not perfect, we still actually have our gas lamp inthe scene pretty much the whole time.
And your attention's drawn to it still, even though it's not in the foreground.
Exactly.
Will that be all you're wanting?
Yes, except tea, monetier.
Very good,
(20:52):
eyebrows I was about to the exact same thing eyebrows Gregory how can you talk to Nancylike that you seem so anxious to regard the servants as your equals I thought they would
treat us one besides I was only trifling with no wonder that girl despises me the way youencourage her in this place whatever makes you think that the way she the way she talks to
(21:17):
me the way she looks at me looks at you
The drama.
Right?
What?
I hope.
You mean the maid I've been trifling with is giving you the stink eye?
How dare she?
I hope you're not starting to imagine things again.
here go.
we go.
(21:38):
Of course I'm not.
I hope you're not, but if you start talking about the way Nancy looks at you, turn away,Darling, have you not read the secret?
When you say it out loud, you're manifesting a destiny, darling.
Wait, Paula.
We must have this out.
Do you really think Nancy despises you?
(22:01):
Answer me, Paula.
Do you?
this performance.
I mean, we should point out she got best actress for this.
Yes.
She won an Academy Award.
Punch buggy.
Right?
I think her first one.
I think this was this her first one?
I'm going to have to double check because she won a couple of times.
She won a few times.
Yeah.
(22:21):
But she's also in Grid Bergman.
Of course she won more than one best actress.
The stages of her psychology breaking down are very pronounced.
And you can see the different levels before the end of the film.
Absolutely.
And what I love about the end of that scene too, the way Gregory is talking to her, it istextbook gaslighting at that point.
(22:45):
This is exactly why this is our colloquialism for
trying to convince somebody that they're not mentally well, that they are mentallyunsound.
Because he clearly flirted with the maid.
He's clearly flirting with the maid to, why, you're the one who said you wanted us totreat the staff like regular humans, like they're equals.
(23:08):
I'm just trifling with her.
What are you talking about?
Why are you getting so upset?
Of course she doesn't I flirt with all the regular folks.
Exactly.
I flirt with the regular people too.
you just see me outside with the neighbor outside.
She said hello and I was like, I'd love to see you in your panties.
I'm thinking I treat the help the same way.
(23:29):
You're pantaloons.
right, pantaloons at the time.
we're still 19th century, it's gotta be pantaloons.
That's hot.
But as the audience, now we're sort of like, this is probably stage two, right, with thepicture incident happened before this.
Yeah.
Right, so this is, we're not quite in the thick of it, but we're getting there.
Right.
(23:49):
In the thick of the gaslighting, as it were.
And I hope we did communicate clearly that yes, this film,
And the title of this film is where we get that term gaslighting from.
So the next scene I'd like to talk about is the concert.
Concerts, I don't know what to say.
(24:10):
They were all like this back then.
I don't know.
But this specific one was a piano concert, not held at a big concert hall or a theater,but rather a residence of a rich person.
This was a commissioned sort of situation.
So like a famous pianist, I guess, would come in and play Beethoven.
(24:31):
In this case, it's Beethoven's eighth, Pathetique, it's called, the eighth sonata.
And it takes place more like in a mansion parlor.
Does that sound accurate?
It does.
I feel like this is what the definition of salon is, right?
okay.
So your aristocracy or just, I guess if it was New York, you'd be Nouveau-Riche, right?
(24:55):
the rail barons or whoever they were, right?
You have lots of money, your house is enormous.
It's not a ball, so you're not going to the ballroom, but you're having a lot of peopleover and you're essentially, like you said, commissioning a small concert.
So I think it'd be in the salon and you get somebody famous in, because of course there'sno recordings.
This is how you're going to hear that music.
(25:16):
You don't have any choice but to hear it live.
And if you're wealthy enough to hire somebody to have a private concert.
I mean, I suppose it's the same as being able to afford Beyonce for your birthday party,right?
If you're, you know, well, what's term I'm thinking of?
you're...
Rich, that's what you're thinking.
(25:36):
Rich, no, was, yes, but no, what am I thinking of?
It's, you know, the modern version of if you are an oligarch and you can afford to haveBeyonce play at your birthday party.
Or if you're in the film, Jackass, you can afford the Stooges.
play at your birthday.
That happened.
I didn't just pull it out.
That guy did that and I'm still all these years later really jealous that that happened.
(26:02):
Guy had the Stooges play his birthday party.
Son of a bitch.
But yeah, moving on.
Yeah.
So what happens when you have stupid money?
Right.
But that was a technical term.
was an oligarch.
No, it's stupid money.
Same thing.
They mean the same thing.
Exactly the same thing.
(26:24):
But yes, so there is a lady who Paula knew when she was a small child who was invited intothis concert and Gregory does not want to go.
In fact, sends a note saying they're not going to go and Paula's like, no, no.
Let's be a little more clear about that.
He intercepted.
Yes.
(26:44):
The invitation and responded, she's not feeling well.
So we can't.
Now, mind you, in the background, peripheral of this whole thing, he's sort of givingeveryone outside of their home the same message that she's not herself.
Which is, yes, and which is also an aspect of the gaslighting, right?
(27:07):
It's not just about convincing her that she's mentally unwell.
It's convincing everybody around her that she's mentally unwell.
Which of course is part of the manipulation of the staff, not just Nancy, our seductivecockney maid.
but also Elizabeth the cook, right?
So he's convincing both of them as well that she's not okay.
Now mind you, Elizabeth the cook is an older maid who we'll get to, I'm assuming later inthe program, but she's, so there's two maids in the house.
(27:35):
There's Elizabeth and Nancy.
Elizabeth is the part deaf.
Yes, which is aiding Gregory in his shenanigans because poor Elizabeth can't catcheverything.
She can't hear it all.
Meanwhile, this, what's his name?
Officer?
Officer Brian.
(27:55):
Officer Brian Cameron.
I don't know.
Do we ever get a clear understanding?
He's not a beat cop.
He's not a standard constable.
He's kind of of seems like a detective.
Yeah, so maybe he's Detective Brian.
I mean, I suppose detectives did exist late 19th century England, right?
So maybe he was just a detective, but he's like, yeah.
(28:17):
Yeah, this is before Jack the Ripper.
no.
No?
When is Jack the Ripper?
When did that happen?
Sorry, England.
We don't really care to learn your history.
We're just learning it now.
It took us a minute.
we might be about the right time.
Because we don't get an exact date on this film, but the assumption based on theaesthetics would be 1890s, possibly 1880s.
(28:44):
So, 1888.
So actually...
Look at me guessing and I was correct.
We're about the same timeframe.
But you probably just looked at the clothes and were like, that's exactly the week Jackthe Ripper happened.
You were like, fashion, darling, fashion.
Basically, well, it was the fashion, but also it was the gas light.
(29:09):
Right.
Yeah.
the, you know, how you got, how you got, you know, power and such into your home betweenthe gas in your home.
And the fashion, I took a stab and I'm pretty sure I'm correct.
So we are at the concert and that's our opportunity to kind of get to know Officer Brian alittle bit.
(29:30):
we know he's a detective.
Or Detective Brian if you're nasty.
Right.
And it turns out he has been longtime friends with the lady who has invited him who ishosting the concert.
And of course, one of my favorite asides of the whole movie is her being like, I'mgonna...
sit you next to, and I can't remember her name, she's going to sit him next to some younglady and he's like, she's a mouth breather, no thank you.
(29:55):
Right.
And he's not happy about it.
Yeah.
And he gets stuck sitting next to this girl.
But while there, he witnesses this exchange between Gregory and Paula during the course ofthe concert, which is an amazing exchange, an amazing scene, and so well acted.
(30:16):
Earlier in the film, we had to point this out because this is sort of an Easter egg, as itwere, that pays off later in the film.
Paola shows Pepe Le Pew, her husband, a glove used to belong, by the the house used tobelong to her aunt who was a famous opera singer.
(30:38):
Yes.
She shows him a glove, like a bedazzled or jeweled glove or something, that
belong to her famous aunt.
And it's mentioned that the other glove was given to a secret admirer.
And that sort of leaves a little to the imagination that maybe she had a secret lover orsomething.
(31:01):
And also we should mention that her husband goes to the Tower of London and outwardlylusts over these jewels.
That we also find out were given to the aunt.
the set of these jewels, right?
How does that work?
So basically, the actual British royals in this is a real life thing, their fancy, crowns,the big fancy royal jewels are all housed at the Tower of London.
(31:31):
And they actually do have them on display for the general public, obviously under lock andkey.
But there is a display.
I've actually gone and done that.
It's pretty cool.
But the secondary storyline is that
a royal admirer had given a bunch of very fancy, expensive jewels to Paola's famous operasinging aunt.
(31:55):
And when the aunt was murdered, which I guess we kind of haven't mentioned, but honestly,it's the first thing that happens in the film is you find out she's dead.
We never meet her.
She's just dead from the beginning.
We just know she's been murdered.
but these jewels were never It's more important than we're letting on.
It's like the, it's the premise in which the whole film hangs.
Yeah, exactly.
But yes, so these, so she was given these very fancy jewels by a quote unquote royaladmirer.
(32:22):
And so yes, when Gregory is at the Tower of London looking at the other jewels, you canjust see in his eyeballs that he is super into the jewels.
I know, but it's like, it is very weird and lusty and.
It's gross.
believe we had a conversation about it.
Like I compared him to James Woods in that really bad Disney Notre Dame movie where he'slike, desire.
(32:45):
Yes.
Like it's very weird.
Hunchback of Notre Dame.
Notre Dame.
Sorry.
I should be better about the French.
Hunchback of Notre Dame.
It was awful, but I think it is good that we mentioned the aunt here instead of right atthe top because in the 2024 remake,
that I'm making right now in my mind, that's revealed a little deeper in the film and notout of the gate.
(33:13):
I like You know what mean?
Yeah, okay.
Also, again, this bloodthirsty Bessie, who we met on the train in the very beginning ofthe film, turns out to be one of her neighbors who is excited that someone is moving into
what was known for a while as the murder house.
(33:33):
So,
And again, in the remake, she's gonna be a true crime podcaster.
But the point of bringing this up as we continue on with the concert is there areperipheral characters outside wondering about this young woman living in the murder house.
(33:53):
curiosity is building outside of the horror movie that we're watching in thisrelationship.
Right.
So the concert is this perfect moment for people to get a real glimpse of what's going on.
So Detective slash Officer Brian gets to see this interaction between Gregory and Paola.
The lady who's hosting the concert aggressively sees it.
(34:16):
So literally, so everybody's sitting down and Paola seems very happy and she's excited.
And as you say, we're technically getting an actual concert in the film because there is afamous pianist who is playing Beethoven for us.
We know just before they go to the concert that Gregory has looked at his pocket watch andhad a smirky look on his face, right?
(34:40):
And so then we get into this scene and while the music's going, he pulls out his pocketwatch, but the pocket watch isn't attached to the chain.
And instead of waiting till the end of the concert to say anything, he quietly turns toPaola and says, my pocket watch is missing.
you take my pocket watch?" So Paula says, I did not take your pocket watch, but Gregorysnatched her purse from her.
(35:05):
So he snatches her purse.
He digs into the purse and he pulls out the pocket watch.
And of course, Paula falls apart and it's Ingrid Bergman at her best and she falls apartbeautifully.
And it should be quiet and they shouldn't be making a scene, but she can't handle it andshe loses it.
And the concert stops.
(35:27):
and it's embarrassing for everyone.
Including the audience, even it's so uncomfortable.
horrible.
Nobody wants to see anybody lose their crap, right?
Nobody ever wants to witness that.
So you feel like there's a combination of...
I got a backpedal on that.
Like at Disney World when stuff like that happens, I love it.
(35:50):
Okay, well, I mean, that is slightly different.
You can kind of watch at a distance and be like...
Wasn't me.
Right.
that's true.
You're not really stuck in the room.
Right.
In fancy attire with it.
In theory with people you know, right?
Because only a certain group of people have been invited to this concert.
So you probably actually know everybody there.
(36:12):
So they've been hearing, right?
So been hearing like tales, right?
Because as you said before, Gregory's been laying groundwork that she's not well.
And now he has forced her.
And I think this is,
forced her into kind of having this breakdown in front of all these people.
And it's really the first time when you really realize, yeah, this is on purpose.
(36:37):
I know the prior scene with the back and forth with Nancy the maid, you are suspicious,but it's not confirmed.
The concert is when I feel like you're like, that was fully on purpose.
I was gonna Yeah, no, you're right.
It feels like right at that moment, you're like, no, like this is an orchestrated plot tomake her look unwell in front of everyone.
(37:02):
Yeah.
And it's such a big way, like you said, the concert stuff- that's another one too.
bananas.
Yeah, bananas.
And you feel terrible.
don't know, bananas seems very gentle.
Maybe I'm wrong.
Maybe we should have had a psychologist on.
We're only a two person operation.
(37:23):
This is a situation.
Yeah, we're both very busy people We have both very busy people.
So but you and I have agreed that bananas is okay.
We can say that yeah, yeah He's making her out to be bananas while making her bananasExactly.
Yeah, you know since he rushes her out after he makes this scene.
(37:44):
Mm-hmm and We start to see Detective Brian
really get interested in the case now.
Yeah.
And this is the scene I'm excited to talk about as well, is the moment it's revealed thatDetective Bryan has become so interested in this case, not only because there was an
(38:07):
unsolved murder in the house, but because he is the secret admirer who has the otherglove.
Now, Detective Bryan is really, really young, and that's because he was a child.
who loved that aunt so much that she gave him that glove.
Almost like, you're my number one fan and gave him the glove.
(38:30):
And I thought that was a great reveal.
Yeah, especially because you learn it's such a sweet thing, right?
That it's not really a, it's not a romantic thing.
It's a little kid who thought she was amazing and she thought it was cute that this littlekid thought she was amazing.
And you're like, so cute.
It's sweet.
It's very sweet.
(38:50):
We should sort of fill this in a little bit before we get into the specific scene becausePepe Le Pew has been sneaking out of the house and telling Paola that he's composing in
like this sort of rented space, presumably down the block someplace, which she neverchecks.
No.
(39:10):
She never, because she doesn't really leave the house now.
No, no, she doesn't.
But how long is he composing this thing?
Well, and also...
He works only in the evening, and then makes her feel bad.
Part of the gaslighting is she, at one point is like, well, know, it's too noisy in thehouse.
I'm too much of a problem.
(39:31):
So he has to go to this office, this rented space to compose.
He's like, Paula, Paula, I got to go down the block.
I'm working on an opus called Chinese Democracy.
It's going to be amazing.
I got a guitar player named Buckethead.
It is going to be great.
(39:54):
But yeah, sorry.
good money to hear Charles Boyer say that line.
But what he's actually doing is finding a different route into the attic, which has beenboarded up from inside the house with all of her aunt's paraphernalia in it.
So he can search for the jewels that his, that her aunt has hidden someplace among herbelongings.
(40:18):
So Paola is in her room.
And of course, when he leaves for work,
quote unquote work, she's extremely agitated.
And then of course, as soon as he gets to that third floor and turns on the gas up there,then it makes her gas light dim.
So she sees the light dim, but thinks it's in her head.
(40:40):
Of course, poor, partially deaf cook Elizabeth can't hear any of the thudding, right?
So she can't hear anything going on.
And so how can- there's going on upstairs.
she can hear him.
And you hear him walking around, and it's not just that he's walking around, he's digginginto all the stuff.
there is a moment where we see him literally pull a knife out of a drawer and startcutting into velvet chairs and whatnot, because he's like, where are these jewels?
(41:06):
And he's cutting into sofas and trying to find things.
So she's hearing all of this.
But that third floor is supposed to be completely blocked off.
Nobody can get there.
So she has no idea, you know, shouldn't be anybody boarded up.
looks exactly like you think it looks like it's like two by fours across the door.
Yeah.
This door going to the VAT level going to the attic.
(41:30):
Yeah.
So yeah.
So she's, you know, she, the gas light has dimmed, which it shouldn't do, but you know,
It shouldn't do because it's only supposed to be light on her floor and then the floordownstairs where Elizabeth is.
So Detective Brian sees him going in, figures out that he's going in another way.
Because he's again, very interested in the case because he knows who's been murdered therebecause he was her number one fan.
(41:56):
Yep.
Figures out that when he goes, he can try to intercept or try to speak to Paola directly.
And what she does, he gets by the maid and speaks to her directly and tells her, look,you're not crazy.
This has been happening.
In fact, he's not even who you think he is.
Because he's been doing his homework and finds out that his real name is what, Deb?
(42:20):
Do you remember?
Sergius Bauer.
And the whole reason why he's been gaslighting her is because he had gotten a letteraddressed to that name.
And when she said the name out loud, he immediately had to drive her out of her mind.
So she would be an unreliable witness later.
Right.
(42:40):
If this were to come up in any kind of legal situation.
Exactly.
Because now she is a, she's a loose thread now.
She saw the letter with Syregus's name on it.
Suddenly she potentially could be, you know, she could be a problem.
So.
He's got to deal with And did Sergis had a wife?
Like he has like a whole other family or something, right?
(43:01):
That's the other thing.
Sergis is like Czech and has a wife.
And so their marriage isn't legal.
And so Detective Bryan's like, I'm really sorry, ma'am, but like your marriage isn't evenlegal.
And she's like, no, my marriage is legal.
And he's like, no, I'm really sorry, but it's not.
It's like a whole thing.
This is bigamy.
And it takes it to another level, right?
(43:21):
So not only is your husband
who love bombed you to even get you to marry him in the first place, trying to drive youout of your mind.
But it turns out he's also married to somebody else.
Right.
I mean, we learn nothing about, we don't ever learn what that situation is other than thatshe's somewhere.
(43:45):
Also, yeah, cause- And he's legally bound to Yeah, he's legally bound.
Eventually, one of the officers involved in this plot, in this caper, who's helpingDetective Brian, who pumped Nancy for information, because as we mentioned earlier, she
has a penchant for the beat cops.
(44:06):
Sure does.
she tends to let things slip.
They go in there and sort of rassle Pepe Le Pew and tie him up in a chair.
And then we get to the climactic ending, which I don't think we should.
you know, give away.
Not the first few episodes we were giving away endings, and I don't know if that's a greatidea.
But you guys can tell us.
(44:27):
You can find us on Instagram and let us know.
Yeah, yeah, let us I think here's a good, you know, I think what we'll do is we'll start aPatreon, right, but like a free one, because we don't have time for bonus content right
now.
And we're just starting out, who cares?
We'll start like a Patreon where we can go back and forth and you can tell us what youthink.
I like this idea.
(44:48):
I wrote it down.
Yeah, we'll get to it after the holiday.
So, okay.
That sounds good.
Maybe Instagram.
Okay.
I was going to say with any luck, maybe Tito will reach out and let us know.
I hope Tito calls again.
I he calls too.
But yeah, I just, we just had a whole production meeting, but like, feel like this iswhere we lead into one of the most incredible parts of Ingrid Bergman's whole performance
(45:15):
is her.
in real time unraveling the bananas.
Yes.
And piecing herself back together as she's speaking, which is wonderful.
It's brilliant.
Yeah, while confronting Pepe Le Pew.
And I think it is so good.
(45:36):
It's so good.
Well, his real name, I mean, he's not Pepe anymore.
He's Syracuse.
Gregory slash Syracuse.
Gregory, right.
Well, and I know in our Clue episode, we talked about, we went through the scene where Iwas like, okay, this is clearly why Jane Fonda won an Academy Award.
(46:01):
Granted, I know the whole film is impactful on it, but there is a scene specifically whereyou're like, this is what.
This is what sealed the deal.
is why she won.
This is what annihilated the competition.
Yes, this is what crushed everyone else.
This film is the same way where, as you say, like, literally we get to watch IngridBergman get her brain back and go, and kind of reverse through everything that Gregory
(46:28):
slash Saugus did to her throughout the entire film.
And it is a very epic, it's an epic scene.
It is amazing, everything about her is fantastic.
And you're like, that's why that girl won an Oscar.
That was easy.
yeah, I don't even know.
I didn't even know who she was up against.
(46:48):
Right.
You're like, well, that was an easy vote.
So you think this is the moment, like that's the moment where she.
Sealed the deal.
Definitely.
But we didn't look up what she was even up against, but like 1944 Oscars, which I think isthe 17th?
Right, the 17th Oscar?
(47:08):
Yeah, right, 1927 is the first year.
Is it 27 is the first year?
Yeah.
Wait, so hold on.
this be, the movie came out in 1944, so does that mean it was part of the 1945, right?
yeah, yeah, yeah.
I forget that.
Okay.
So then it would be the 17th.
Okay.
So that makes sense.
Okay.
Yay, I won.
(47:30):
Nothing.
did win.
Yes.
Okay.
So she is up against...
Claudette Colbert for Since You Went Away, Betty Davis for Mr.
Skeffington?
I never saw that one.
Me neither.
Greer Garson in Mrs.
Parkington.
Barbara Stanwyck in Double Indemnity.
(47:52):
Pretty stiff competition.
Pretty stiff competition.
mean, those are some heavy hitters.
Also, can I point out, I don't know if I said it before, but Angela Lansbury was alsonominated.
for actress in a supporting role for this film.
She did not win.
Who'd she lose to?
Ethel Barrymore for None But the Lonely Heart.
(48:15):
Huh.
And honestly, it's not something I've watched.
No, me neither.
I've not seen that.
No, but I mean, that's also pretty spectacular.
not only Yeah, that was her debut.
That was debut.
was 17.
She was 17 on this movie, right?
Yeah.
you know, okay, so like, you know the smoking scene, right?
Yes.
Yeah.
Right?
She couldn't film that to her.
(48:35):
They had to shoot that specifically on Angela Lansbury's 18th birthday.
That's awesome.
Also Charles Bourdieu, one of his children were born while making this film.
had to like fly home, fly back.
then, so they had like a party for him.
But also he's wearing the lifts in the film.
That's important.
(48:57):
Because he was the same height as Ingrid Bergman.
So he had to...
wear lifts to like sort of tower over her a little bit.
To look a little bit more intimidating?
Yeah, which is why he's not, there's no like full, full on shot of him.
It's usually from like the waist up.
that is a good point.
Or he's sitting down.
There's a lot of him sitting.
He also, can't imagine that he was any taller than Angela Lansbury, because she seems likea tall lady.
(49:22):
Also, Angela Lansbury looks exactly like you think she does.
Like, she looks exactly the way she did like,
two weeks before she passed away.
Yeah.
she's 17.
Like her face doesn't look that different.
it's amazing.
She was beautiful though.
Right.
And also I now realize she's on that list of women who aged really well.
(49:48):
she on the list?
Is there a list?
or is it the list in your head?
It's the list in my head.
It's the list in my head.
Who else is on the list?
well,
Let me see.
Well, of course, Jane Fonda, whether or not she's had work done is arguable and whatever,but I don't care.
(50:08):
feel still think she looks amazing.
then her surgeon is great if it is true.
Yeah.
If she had work done, they actually did a really nice job.
So gets a co-authorship for this.
This yo for sure.
De-aging.
know, yep.
Sophia Loren is another one that I think.
and Helen Mirren.
(50:29):
Helen Mirren, mean, what is that about?
Damn.
Share.
Share.
And I know Share's had work.
There's no way that she hasn't had work, but it's- But she didn't even look like she hadwork until like two weeks ago.
Right, exactly.
But it's clearly quality work.
Yeah.
Tasteful.
Tasteful, which as a complete aside, also makes me think the things that are popular nowfrom a plastic surgical standpoint, I-
(50:58):
just have no, what are those ladies gonna look like later?
The ones Like women that hang around Mar-a-Lago.
Yes, like ladies who hang around Mar-a-Lago.
And also the whole sucking out that weird buckle fat or whatever in your cheeks.
So like, like those ladies, there's a lot of them in Hollywood.
(51:19):
You see any look like they're, it's like they surgically get the Zoolander look.
Yes, they surgically get the Zoolander look.
They surgically implant blue steel on their own faces.
That's exactly what's happening.
Yeah.
Maybe that's how that should be advertised and maybe it wouldn't be popular anymore ifwe're just like, you just surgically had blue steel done to your face.
(51:41):
they'll be like, Like how tramp stamps ended the tramp stamp tattoo.
Yes, exactly.
Yeah, that's what it cancels the whole thing out.
Yeah, it does it just cancels.
Yeah, it cancels the whole thing out But yeah, I swear every time because it's so popularand it's ridiculous and it's like I don't know why you need to be okay You're trying to
(52:02):
you're trying to put to your face.
I'm trying to do it to your own face your fingers Cuz you know what I'm talking aboutwhere I'm like, yeah Well, and also I keep thinking I'm like, but you're literally trying
to fold your face in half to illustrate your point
You know, I'm a very gesturative hand talker.
(52:23):
don't just talk.
I can't just talk.
I've got to use my hands.
I've got to mine it and use my face as well.
It's always big.
Yeah, I can't help it.
Sorry to everybody at home who cannot see my crazy actions right now.
So of course, you know, we can't, I don't want to give away the ending.
(52:47):
But it's what, I mean, the ending's wonderful.
It is also the moment, like to your point, where Ingrid Bergman sealed the deal on herOscar.
So now we have to figure out our new segment.
yeah.
Which is how do we sell this to Susan?
Now a little bit of backstory.
(53:08):
Susan is a mutual friend of Devin and I, who is very dismissive of any recommendation youmight make about anything.
yeah, about That's like her first, like her knee jerk response.
always, always.
And also her attention span.
Hmm, true.
Leaves a little to be desired.
how would you sell this to Susan?
(53:30):
I think I would sell it to Susan.
I'd start with the psychological thriller aspect.
It is...
You wouldn't be honest and be like, this is kind of the story of your current boyfriend?
By the way, Susan's not listening and we didn't, you know, so we don't have to.
Yeah, we know that.
No, I probably...
bother changing your name.
Nope, no, I wouldn't go down that road.
(53:51):
I'm gonna...
Yeah.
No, but I'd probably go down like psychological thriller.
Like, you do enjoy a good psychological thriller and this, albeit a much older film thanyou would normally watch, it hits all those notes.
It hits all those notes.
(54:12):
It's...
I think it starts a domino effect.
It really does.
It starts a domino effect and she'll immediately break up with.
Okay.
Yep.
Yep.
Yeah.
But again, we kind of sell it to her first.
That's right.
We got to sell it to her first.
And then she's a little like me and she wants to be a slightly feminist while also being akind of caddy and gossipy.
(54:42):
Right.
So, you know, like
I pull for Ingrid Bergman the whole time because I'm like girl figure it out Figure outthat he is a jack wagon and you need to give him the boot while at the same time You know,
I'm loving watching her fall apart Did you describe Susan as feminist?
(55:05):
I Said kind of feminist.
Okay.
Yeah, cuz yeah, that's you're being really nice I am really nice.
You're saying like kind of feminist to be clear like how like
some Spice Girls lyrics are kind of feminist.
All right, I mean, you're not wrong.
You're not wrong.
Right, so, but to your point though, if you could sell like that, like, you know, girl,there's girl power.
(55:27):
Yeah.
Yeah, you go girl and stuff.
Girl.
Girl.
You need to watch this, cause girl, there's power.
girl.
it, yeah.
Right.
We got a call, hold on, I'm gonna pick it up.
You wanna answer it this time?
No, no, you answer.
I'm scared to talk to strangers.
(55:48):
know this.
Radio Free Ryan Cliff.
Yeah.
Yeah.
Hey, this is Phil from Apple Valley.
I heard you guys talking.
You're talking to right?
Do they call the right place?
Is this is this a studio poverty property?
Property poverty.
Property.
Yeah, it's studio.
I'm sorry.
I'm sorry.
I'm sorry.
(56:09):
I realize that as I saying it.
That wasn't it.
That's funny.
Anyway, hi, we're studio poverty the cinema podcast just for the poor.
Good.
I'll fit right in Hey, so you're talking about you guys are talking about a movie that'sabout gaslighting someone and I Have been gaslit Is that you were gaslighting by?
(56:36):
gaslit by Deb who I was going out with
We were going out for a while and then she you're from Apple Valley, you said?
Yeah, yeah, yeah.
Where was that?
Down in...
Down...
You know, it's east of Poughkeepsie.
East?
Yeah, think it's east.
Poughkeepsie.
Is it like a farm or something?
is it where you go apple picking?
(56:58):
Or is that a town?
There's no apples in Apple Valley.
I mean, it was right there in the name.
Well, that's an interesting factoid.
Maybe there used to be, you know, to get the name, but then...
people built houses and stuff.
anyway, so I was dating this girl Deb, she totally gas lit me.
And so we were talking and she says, said, Yeah, this is Deb, we're going out.
(57:22):
And she said, No, we're not.
I was like, what do you, what do you gaslighting me?
She said, I don't know what that is.
But I was like, this is it.
This is what they say.
This is gas lighting.
She says,
Were you did we actually dating her when this happened or did you think yeah?
were going out.
We've been going out for a couple months We were going out for two two or three months,and then she comes to me and she says you know what?
(57:44):
We're not going out.
I said wait a minute.
We've been going out this whole time She said you know what not anymore, and I was likeyou're gaslighting me Was she gaslighting you or was she just breaking up with you?
This is gaslighting I I
I think I got it right.
think I know what gaslighting is.
No, no.
I'm not sure.
No, doesn't sound like it.
(58:04):
Tell us more.
Yeah.
If you think one thing and someone thinks someone else, then that's gaslighting.
No, If I'm...
If you wanted to change somebody's mind, you would just turn up the gas in the house andgo out and wait until they change their mind, right?
Okay.
I think you're actually thinking about like carbon monoxide poisoning.
(58:27):
I don't, that's, which is not the same as gaslighting.
Gaslighting is psychological carbon monoxide poisoning is you need to go to the hospital.
You're physically altering a person.
Yeah.
Deb was saying to me, Deb was saying to me, you're not my boyfriend anymore.
And then suddenly she's going out with Len and Len, he was a friend of mine.
And I said, Len, that was my girlfriend.
(58:48):
He goes, she's my girlfriend now.
So listen to this.
She's on my bowling team.
So I still see her all the time.
And so is Len.
The name of our team is the Gaslighters.
What?
Wait, that's the name of your bowling team?
Yeah, yeah, yeah.
Who named your team?
This team's been around for a long time, a long time, and they've been the Gaslighterssince before I was there, before I was born, I think.
(59:12):
I mean, there's nobody old on it now.
It's mostly young people.
But before it was a lot of old guys and they would say we're Was it like Menudo?
Like they age out of the bowling team and then replace you with younger people?
That's what it sounds like to me.
Maybe I've been new menudo.
Maybe that's what I'm being.
I think I'm being menudo'd.
(59:35):
She's just passing me on for someone younger like a menudo.
You know what?
I think that's exactly what's happening.
I think we got to the bottom of this.
Yep.
Yep.
I think we've answered your question.
So I'm not guessing.
were just menudo'd.
You were just menudo'd.
I gotta tell her that.
You're menudoing me.
That's right.
Also, Phil, sounds like you need a new bowling team, man.
(59:56):
I don't think you should bowl with with Len and Deb anymore.
Maybe I'll start one called Menudo.
You know what?
You should.
You should.
I highly recommend doing that.
By the way, how long you been listening to the show?
I've been I've been listening.
I don't know.
Since you've been on what for the last two, three years, you guys, you guys are we'reabout two, three weeks old.
(01:00:20):
Weeks.
Are you menudo in me?
No, we're not many.
No, no, we're two or three only been on for like three weeks.
Yeah.
Yeah.
Yeah.
You guys are good.
What do you what you were talking about?
The movie.
Now the name.
Have you ever seen it?
How do you forgot the name?
It's the name of your bowling team.
(01:00:40):
I was listening to you.
I was listening to you guys talking about it.
I really like listening to you guys talk about movies that I do know.
But I also like hearing you guys talk about movies I don't know because then it tells methe things to look out for if I do see them.
I watched that one, the conversation one that you were talking about.
(01:01:02):
The, yeah.
Did you know I watched it?
I watched it by myself.
No one was with me.
and watching it with Gene Hackman.
No, okay.
wait a minute.
You're joking me.
Gene Hackman's the guy in the movie.
I get it.
I get it.
No, yes, I did see the conversation with Gene Hackman and it was good, but it was goodbecause I had heard you guys talking about it.
(01:01:31):
And even though I knew a couple of things that was coming, it was still a surprise.
It was really a lot of fun to watch that movie after you guys talked about it.
Well, next week we're going to be doing Shoplifters.
It's a Japanese movie.
What year did that come out?
2018.
So it's, you know, it's.
More modern.
Yeah, more modern things we've covered so far.
(01:01:51):
you're going to watch this next week?
Yes.
Yeah.
We're going to talk about it next week.
I don't think I can learn Japanese in a week.
No, there's subtitles.
There's subtitles, yeah.
Are they, you know, are they the fast kind of subtitles?
Like you go, I got to pause this frame because those are, sometimes there's just too muchtalk.
(01:02:15):
I don't think so.
Watch it dubbed.
I mean, I feel like it loses something, but if you watch it dubbed, that might help.
Yeah.
Yeah.
I like it when the Chinese and the Japanese movies are dubbed by Australian guys.
This is the funniest thing.
(01:02:36):
You know, you know, you know, this movie, I like a lot of John Woo films.
You know who John Woo is?
John Woo is a director.
John Woo.
I like these John Woo.
Let me see if I can do this with my Lenny and I would watch this.
We laugh so hard.
This guy would come in.
One of the movies is called Hard Boiled and it's got Chow Fat Yun, Chow Fat Chow, Chow YunSat.
(01:02:59):
I got it back with Chow Yun Sat and and the detectives and everything and he comes up and.
The guy with the Australian accent goes, I'm had boiled.
We would rewind it over and over because we're had boiled.
(01:03:19):
And was this Japanese guy saying it was so funny.
Watch Australian dubs and Japanese films.
Well, we're going to be watching Shoplifters next week.
We'll be talking about that.
And I would have done it.
did you Australia guys say shoplifting?
This job short lifted short lifted.
(01:03:41):
I mean, that kind of sounded more Boston and Australian.
But yeah, I don't do I think there's a correlation, Deb.
I think there's a direct correlation.
We just haven't established it yet.
Also, yeah, I will say it's wonderful that you called in, but we have if we could beserious for a minute.
You just mentioned that you used to watch films like that with your best friend who's nowleft you for your girlfriend.
(01:04:06):
And that's very sad.
And I want to acknowledge that.
And that we're very sorry to hear that.
Regardless of the circumstances and whatever they did to you is specifically called, theyhurt you.
And that's not great.
We do not approve.
No, not at all.
know, life goes on.
(01:04:29):
I got a very nice girlfriend now and things are good, they're fine.
She doesn't bowl though, so there's that.
Well, maybe it's good that she doesn't bowl.
Maybe you could teach her to bowl or watch movies together.
yeah.
Well, maybe we'll watch this Japanese shoplifting movie.
(01:04:52):
We'll see that.
Yeah.
Yeah, that sounds great.
I love it.
Well, thank you for calling in.
Hey, thank you.
You're doing a great job.
I love your show.
It's a lot of fun.
can do it too.
Listening to two talking about movies is comforting.
It's very nice.
Thank you.
It's very nice compliment.
Thanks for calling in, Phil.
Look at that.
You know, we get like one caller a week, And I still feel like we need a call screener.
(01:05:18):
Yeah, you might be right.
You might be right.
But I have to say, like, you know, Phil called in at the end of the show, which is good.
And I think that's a great way to end the show.
It is a nice way to end the show, isn't it?
Especially after he said he had a new girlfriend.
That made me happy.
That made me happy too.
And with that being said, we are your studio property.
(01:05:39):
My name is Doug Wartell.
I'm Devin Erby.
And let's try to come up with a catchphrase right about here.
Okay, yeah.
And we'll just keep doing it from week to week until one sticks, unless we nail it out ofthe gate.
Do you want to take the first turn?
ooh.
my brain's not working.
Okay.
(01:06:00):
keep on reeling.
yeah, that wasn't good.
Sorry.
No, Maybe I should have done.
Studio property is mixed at spillway street content and red hook New York and syndicatedon radio free Reinkliff theme song by the corner of Bodega.
Be sure to subscribe to the podcast and follow us on Instagram at studio property show.
(01:06:20):
Thanks for listening and we'll catch you next week.
she said bloodthirsty Bessie in the 2024 remake would be like a true crime podcaster.
(01:06:41):
yeah.
she would.
Yes, he would.
I don't know if ever listen to that crap.
Hold on.
We have a soundboard in this app.
I want to see if there's like murder music.
Let's see.
It's bloodthirsty Betsy.
(01:07:02):
It's summertime in New York.
And you know what that means.
It's time for a David Berkowitz bonanza.
Stacey Moskowitz was a 17 year old girl on her first date.
That was perfect.
music was great.
was amazing.
That was so good.
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