George Feltenstein joins Tim Millard to review the Warner Archive's April Blu-ray releases, a diverse collection spanning from 1950s classics to 2000s comedies that have been restored with stunning new transfers and special features.
• Leslie Caron and Mel Ferrer star in "Lily" (1953), a Technicolor gem restored from original 3-strip negatives
• Despite studio doubts, "Lily" became a massive success that was later reissued theatrically instead of going to television
• "Side Street" (1950) features rare on-location New York City filming with Farley Granger and Cathy O'Donnell
• Anthony Mann's noir thriller uses the city as a character, with John Alton's cinematography and a memorable climactic car chase
• "Springfield Rifle" (1952) starring Gary Cooper presented restoration challenges as an early Warner Color film
• "Just Friends" (2005) with Ryan Reynolds finally gets its first proper U.S. Blu-ray release with all special features
• "Clean and Sober" (1988) showcases Michael Keaton's breakthrough dramatic role alongside Morgan Freeman
• Glenn Gordon Caron's film about addiction remains relevant today, balancing serious subject matter with moments of hope
Purchase Links:
SPRINGFIELD RIFLE (1952) BLU-RAY
CLEAN AND SOBER (1988) BLU-RAY
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Clean and Sober
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Just Friends
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Tim Millard (00:00):
Hello and welcome to the Extras.
I'm Tim Millard, your host, andjoining me is George
Feltenstein to continue ourreview of some of the April
Blu-ray releases from the WarnerArchive, Hi, George.
George Feltenstein (00:09):
George.
Hello, tim, great to be backwith you again.
But the nice thing about theseis that we're talking about five
or six films that range fromclassic film to more modern.
So I love it when we get thatkind of different decades and
(00:35):
different genres.
But the first one I want totalk about is the one
Technicolor film released inApril and that is Lily from 1953
.
And this film is enchanting.
I know the song of love is a sadsong.
I have no better soul.
(01:08):
Hi Lily, Hi Lily.
I know, I know, hi Lily, hi Lily, I know.
Hi Lily, hi Lily I know, I know, hi Lily, hi Lily, I know.
Tim Millard (01:26):
I had not seen this film before and when you read
it this girl, these puppets it'slike okay, we'll see Musical,
you know.
But when you watch it it justlike any good film does it sucks
you in with this innocence andcharm.
It leaves you feeling so goodwhen you're done, and I'm sure
(01:49):
that's a huge credit to both thedirector, charles walters, and,
of course, the cast of leslie,caron and mel, for I just love
this film, george well, I happento love it too, and and uh, it
is really unique.
George Feltenstein (02:10):
It's really not like any other movie, and
people frequently refer to it asa musical, which it really
isn't.
It has one song in it and thereare ballets you know little,
basically dream ballets, as itwere.
(02:30):
But because the song was sobecame very popular, people
think of the film as a musicaland I think that it really is
more of an for lack of a betterword.
It's an enchantment.
(02:51):
It has some darkness to it.
It is beautifully constructed,beautifully written, beautifully
directed by Charles Walters.
Constructed, beautifullywritten, beautifully directed by
Charles Walters and, of course,leslie Caron and all the cast,
(03:14):
but particularly Leslie Caron.
They're all wonderful,everybody in the film is
wonderful and it's only 81minutes long.
And the history of this film isunique.
I may have talked about thiswhen we announced that this
release was coming, but this wasmade at MGM, during a time when
(03:35):
they were starting to dwindledown the amount of musicals.
The studio committed to makingthis movie in three-strip
Technicolor, which means, ofcourse, three times the cost of
film, raw film stock.
So it did have a significantbudget, but not a huge budget,
(03:59):
and it was directed by CharlesWalters, who had directed many
successful MGM musicals, likeEaster Parade and Good News, and
he was held in the highestesteem at the studio.
And this is based on a shortstory by a gentleman named Paul
(04:23):
Gallico.
The studio bought the story andthought it would be an ideal
opportunity to star Leslie Caronin the movie.
When the movie was completed,the studio was very they were
very unsure of its success and alot of executives at the studio
(04:46):
were kind of bad-mouthing itand as they were fumbling, not
knowing what to do, there was anexhibitor in New York who owned
a small chain of theaters.
His name was Harry Brandt, theBrandt Theaters in New York.
The Brandt Theater is in NewYork and he made a deal with MGM
and said I will run this filmat my theater if you'll give me
(05:09):
an exclusive and that nobodyelse gets to run it while I'm
running it.
And they made the deal with him.
The film opened at his theater.
It was one of the Transluxtheaters.
I don't remember exactly whichone.
(05:30):
I'd have to look it up, but thebottom line of it is the film
was a bonanza in terms of boxoffice success.
It got great reviews.
Audiences loved it.
People were going back to seeit multiple times and the studio
(05:50):
basically had to beg to get theexhibitor to allow them to show
the film elsewhere, meaning inother cities and so forth and so
on.
I believe it was nominated forBest Picture.
(06:11):
I think that Leslie Caron wasnominated for Best Actress.
I am certain of that, but Ithink it was nominated for Best
Picture.
It was a surprise success toeveryone, and all the people
that were being naysayers aboutit within MGM suddenly were
(06:38):
praising it to the hilt.
And it was so successful thatwhen movies from 1953 were being
sold to television by MGM inthe early 60s, lily was not part
(06:59):
of what was available forsyndication or sold to networks.
Lily was kept on the shelf andwas reissued in the mid 1960s
and I know that it ran again inone theater in Manhattan, I
believe for like close to twoyears for the re-release, and it
(07:30):
actually made its televisiondebut in the late 60s as part of
a one-season attempt by MGM touse its film library, along with
other special productions, tobe on Friday nights what the
Disney show was on Sunday nightson NBC.
It was called Off to See theWizard and it had animated
(07:52):
versions of the characters fromthe Wizard of Oz Animation was
done by Chuck Jones and Lily andthe Puppets, I think it was
called, was presented over thecourse of two one-hour
broadcasts, and that's how itmade its debut onto television.
It has since been, of course, astaple on home video from the
(08:18):
videocassette days to Laserdiscdays.
Dvd came in 2012.
Didn't look so great.
We needed to do a fullTechnicolor restoration.
We scanned it 4K.
We recombined it almost lookslike 3D.
The colors pop out at you andthe wizards of Warner Brothers
(08:41):
Motion Picture Imaging outdidthemselves.
The score by Bronislaw Kaper isso enchanting and beautiful
that did win an Academy Awardfor best scoring.
I can't speak high enough abouteverybody in the film,
particularly and he's someonereally people don't know today,
(09:02):
which is very sad, because hedid have a level of stardom at
one time Mel Ferrer as thepuppeteer who's secretly in love
with Lily but can only expresshis love through his puppets.
And you know, I saw this filmwhen I was very little and it
(09:24):
just captured me as a child andever since it's always been very
special to me.
I get emotional talking aboutit.
Unique kind of thing.
Uh, that today, now you can getto see it look better than it
(09:53):
looked the day it opened,because of what we can do with
technicolor negatives and, uh,it's a testament to the talent
of Leslie Caron.
Mel Ferrer is wonderful,jean-pierre Aumann is wonderful,
kirk Kasnar, zsa Zsa Gaborthey're all terrific and the
(10:15):
fact that they were able to tellthat story without overblowing
it.
It was very tight filmmaking andI know that there's an
excellent biography aboutCharles Walters, the director
that I recommend highly toanyone who's interested in his
(10:37):
work, and he is not given enoughcredit for the great work he
did, particularly at MGM, givenenough credit for the great work
he did, particularly at MGM.
He didn't limit himself tomusicals.
He directed lots of comediesthat were very successful.
I'm thinking of films like theTender Trap with Debbie Reynolds
(10:58):
and Frank Sinatra, thinking ofPlease Don't Eat the Daisies
with Doris Day and DavidNiveniven.
He was a very efficient,effective director that could do
things very, very well and itjust so happens that we happen
to have a little movie comingout in 4k that was directed by
(11:19):
mr walters.
Little pastiche called HighSociety has been crossed, we
would say Right, and we're goingto have a lot to talk about
when that disc is ready to beunveiled, because I just signed
off on it last night and Icouldn't be more proud or
excited about it.
(11:40):
Charles Walters is not ascredited for his contribution to
film as he deserves to be andthat's why I'm very glad that
such a fine biography waswritten about him.
So he's not forgotten and hepassed away in the early 80s.
(12:03):
He had mesothelioma and didn'treally live to see the
resurgence of interest in hisfilms and people can really
appreciate that Lily really hadhis personal touch, had his
personal touch.
(12:24):
Lily was very much.
You know.
He crafted all the dance andthe ballet and so forth.
Tim Millard (12:33):
It was really, really wonderful.
Yeah, I think that if you're afan of this film and you know it
and you want to get the Blu-rayto see it in this beautiful
Technicolor restoration, thatit's an easy choice to say I'm
going to buy this, or youalready did.
But if somebody doesn't knowthis film, I just want to say
(12:55):
this is an amazing blind buy.
I mean, I kind of compareLeslie Caron and that innocence
that she portrays of this16-year-old girl.
I can't help but think of JudyGarland in the Wizard of Oz and
that innocence that she portraysand the loveliness of the
storytelling.
(13:15):
So if you're a fan of theWizard of Oz, I think you would
also be probably a fan of Lily.
It's a fabulous film and youloaded it with some nice classic
MGM cartoons all in HD and thetrailer, so it has a nice batch
of extras as well.
Clip (13:34):
Joe is no murderer.
He wouldn't hurt anyoneanything.
If he's innocent, mrs Nortonwill help help him.
But we want to locate him now.
I told you I don't know wherehe is.
I haven't seen him.
If you want your husband alive,keep him on this line.
(13:57):
Answer it.
You're trading this car.
Remember, we want him alive asmuch as you do.
Answer it, you're trading thiscar.
Remember, we want him alive asmuch as you do.
Run Joe, run the police aretrading this car.
(14:18):
Nothing, mr Sherrod, hello,nothing.
Tim Millard (14:20):
Well, next, george, we have this Anthony Manoir
side street from 1950, and thisis a terrific thriller starring
Farley Granger and KathyO'Donnell.
As a young couple struggling tomake it in New York, young
postal worker, joe Norton, istempted when, as the poster says
, $30,000 drops into his lap,and the film is really the
(14:43):
spider web of intrigue thatdevelops as Joe faces the
repercussions of his decision.
So it's a terrific story, agreat noir, and it looks
fantastic in this new Blu-rayrelease.
George Feltenstein (14:56):
This is also .
It's a great noir.
It's Anthony Mann, but there'sa third character besides Farley
Granger and Kathy O'Donnell.
That is the city of new york.
Right, it was very unusual forlocation shooting to happen.
Mgm could have made this ontheir backlot, where they had a
(15:19):
new york street, and it wouldhave looked exactly the same as
30 other mgm black and whitemovies of that era.
No, they got the support to goto New York to shoot on location
and the location photography isreally quite amazing.
Tim Millard (15:35):
Yeah, the use of the city is so integral to the
story and Anthony Mann he makessuch interesting choices of
where to place the camera andhow to show the side streets and
the back streets.
I'm thinking of the climacticcar chase scene at the end.
It's epic.
I mean it holds up with any carchase scene today just in terms
(15:59):
of the way that it has thishigh angle shots, the way he's
accentuating this mouse in amaze concept.
It's just fabulous, and I knowthat people love the fact, but
we're so used to seeing thingsfilmed on location.
It's fascinating.
George Feltenstein (16:15):
This was one of the early ones to take
advantage of that, so it'sfabulous to see the use of New
York in this film you know theuse of New York in this film
Well, like I said, the fact thatthey took the time and effort
and spent the extra money tophotograph New York, and it
(16:37):
really encapsulates what thecity looked like when they were
shooting 1949.
You know, I mean it'sremarkable.
As someone who grew up there, Ilove seeing what it looked like
back then.
I'm fascinated by it.
I always love seeingphotographs and films and it's
(16:59):
very rare that you see filmslike that.
Tim Millard (17:02):
Yeah.
George Feltenstein (17:19):
What makes this really exciting is, yeah,
several years ago we put the twoof them together, uh, which
made for a really nifty doublefeature.
But now, with this beautifulnew remaster, our old master
wasn't terrible, but uh, what wehave now is so immaculate and
clean.
It really brings you right tothe forefront of New York City
(17:43):
at that era and I also thinkit's pulse-pounding,
edge-of-your-seat film viewing.
It is just a great,suspense-filled film and the
performances are terrific.
The direction is terrific.
The photography by John Alton,one of my favorite
cinematographers.
(18:04):
It's wonderful.
People need to add this film totheir collection.
Tim Millard (18:11):
It is a need, yeah, and I love the extra feature
that you have there wheretemptation lurks, because it
does give you a lot of thebackground of filming in New
York and how unique that was andthings of that nature.
And then you've got a nicefeature commentary with film
historian Richard Schickel, andthose give you a lot of
(18:35):
information for those who wantto know a little bit more about
the production and the whole NewYork filming and the importance
of all that.
So those are great.
Those are on there.
You've got a bunch of otherclassic cartoons and A Crime
Does Not Pay Short and then thetrailer.
(18:56):
So it's a really fantasticrelease with all of these extras
.
George Feltenstein (19:01):
I'm delighted by it.
I mean, even when I saw thepackaging and we used the
original one sheet, I was likethis is awesome, it's so great
to be able to bring these filmsout with wonderful quality and
with a nice presentation.
And that featurette manages toencapsulate the film's
(19:22):
production history soefficiently in a very brief
running time is really a greatpiece.
Tim Millard (19:29):
Yeah, yeah, yeah, it's great to have that on there
.
Clip (19:32):
Sergeant Snow will give you a receipt for these, mr
McCool, I'm bringing more.
Next time my spread's not toobig, colonel, I'll buy all you
can get me.
How can they buy stock likethat?
That's the sorriest lookingbunch of jackrabbits I ever saw.
You ain't got nothing to sayabout what the army buys anymore
yellow belly.
Never could understand why youwere so particular with us
(19:53):
ranchers, major, unless you weremaking sure those raiders got
good sound horse flesh.
clip (20:00):
Sir Kearney's giving the army a bad name hanging around
like this.
I know we don't havejurisdiction over him anymore,
but I wish there were some wayto get him out of town.
Clip (20:09):
He'll be leaving soon, Lieutenant Captain Tenick.
Captain Tenick, I see youhaven't got my gold leaves yet.
You're mighty brave with thatwhip, Captain.
I'll be back without my whipwhen I get my through the
railhead.
(20:29):
There's something eating thatfella.
Tim Millard (20:37):
Well, next, george, we have springfield rifle from
1952 starring gary cooper, and Iknow you know the title
accentuates the rifle, but thisis really a spy, mystery,
western, uh.
All these genres broughttogether and it's totally
riveting.
I think this film is a greatfun and I think this new HD scan
(20:59):
is just beautiful.
George Feltenstein (21:02):
Well, this, this film was a bit of a
challenge because it was one ofthe earliest films shot in the
dreaded Warner color process.
Right, warner color wasessentially using Eastman color
negative and the processing doneby the Warner color lab was not
particularly wonderful.
Processing done by the WarnerColor Lab was not particularly
(21:24):
wonderful and films shot inWarner Color tend to have a
pretty shoddy reputation fortheir looks.
This is the best the film hasever looked, certainly on any
home entertainment venue, and wehad to work with the negative
and the separations to bring thebest out of this film and it
(21:51):
looks much better than I've everseen it.
Gary Cooper is terrific.
He really carries the film andyou have the unappreciated
talent unappreciated by themasses.
A lot of people don't know thename Andre de Toth.
He was the one-eyed director ofthe 3D masterpiece House of Wax
(22:15):
.
He was most definitely anauteur.
He had a great sense of styleand anything that has his credit
on it is definitely worthlooking at.
This film was very successful atthe box office when it came out
.
It was very rare that garycooper had a misfire at the box
(22:37):
office because he was top drawerattraction and, uh, this is
just one of his many films, thatwe have a huge amount of great
Gary Cooper movies that we wantto bring out, and I can say that
about 20 other Hollywoodlegends.
We have so much that we want tobring out and there's just so
(23:01):
many hours in the day and somuch dollars in the budget hours
in the day and so much dollarsin the budget.
But we finally got toSpringfield Rifle and now it's a
very enjoyable, beautifulBlu-ray and we added a couple of
cartoons from the same year,some very well-loved ones, and I
think it's a terrific disc andpeople will enjoy it.
Tim Millard (23:22):
Yeah, yeah, if you're a fan of Gary Cooper, if
you're a fan of westerns and and, uh, this one, like I said, it
crosses into this spy genre um,it's, uh, it's a lot of fun,
you're going to want to add itto your home collection for sure
hey, look who's here.
Clip (23:40):
What's up, hollywood?
How'd the big date go it?
was terrible.
I went in for a kiss, but shewants a hug, okay.
Then I get caught in a sort ofkiss, hug, limbo type thing.
I don't know what that is.
Then I ended up shaking herentire body.
So you gave her a body shake oh.
God, I should have just kissedher what am I doing.
Looks like you picked up rightwhere you left off.
(24:00):
You're back in the friend zone.
Tim Millard (24:03):
Well, next we're going to skip forward to 2005,.
George, and that's to talkabout the film Just Friends.
And this has an all-star castof Ryan Reynolds, amy Smart,
anna Paris and Chris Klein.
And this is it's a comedy andit really is a funny film.
It has the trademark RyanReynolds humor.
(24:25):
He's always engaging to watch.
And then Amy Smart is perfectlycast as his best friend that,
of course, he's always been inlove with and wanted to
transition into dating.
And then Anna Faris she's justso wacky and funny and out there
, which is totally what shebrings to the film and I really
(24:46):
enjoyed it.
It was a lot of fun to watchand I'm glad that it's finally
come out on Blu-ray because ithas a lot of fans.
George Feltenstein (24:53):
It has a very robust fan base.
It's also a favorite at holidaytime, and it was shocking to me
when I was doing research and Ifound out that there had never
been a Blu-ray in the UnitedStates of this New Line film,
because it was released in 2005and Blu-ray started to become
(25:19):
part of our lives around late2006 and so forth.
This wasn't considered by NewLine Home Entertainment and New
Line Home Entertainment foldedabout a year later and Warner
Home Video took over all NewLine activity not just
distribution but marketingeverything and this film got
(25:40):
left out and I just I knew a lotof people had been asking about
it Social media, there wassomething out there from other
countries that was interlacedand it wasn't the right aspect
ratio, and so we were able toput together a disc that not
(26:01):
only puts the film in awonderful light but also has all
the cool extras that New Lineproduced for the DVD release.
And this is another film wherewhat first got out into the
market had problems.
The 5.1 track was missing, thespecial features were missing.
(26:25):
So this is another film where wehave a disc replacement program
to be easy for those who ended.
I mean, we caught it very early, so there's very few bad copies
out there.
But for those who have a copythat doesn't have the 5.1 audio,
doesn't have the the specialfeatures, they can go to your
Facebook group and finddirections on how to get their
(26:52):
replacement copy.
They can also find thatinformation on various
enthusiast forums.
Yeah, so the word is out.
Yeah, I'll also put that in theshow notes here of the podcast
as well, so it's just a oneclick for people to find and get
to that information as someoneto watch, that we knew his
(27:24):
career was going places, but Idon't want to spoil it for
anyone but not unlike his morerecent movies, there is
something that he does at theend of this movie at the end
credits that's worth the priceof ownership.
That is signature Ryan Reynoldshumor and I think it's a great
(27:48):
deal of fun and I'm glad we wereable to bring it to the folks.
Yeah, yeah.
Clip (27:52):
Can I help you?
Nice barns.
Yeah, I heard about the programand it sounds really good to me.
I just want to make sure Iunderstand the deal as far as
the confidentiality aspect isconcerned.
Yes, well, the program iscompletely confidential.
So no one would have to know Iwas in here, not unless you
wanted them to know.
Great, you take Blue Cross.
Yes, we do.
(28:13):
Good, let's say someone foundout I was in here and tried to
call me, or I wanted to get inhere and bother me or something.
Let me tell you what I asked.
I'm going to let it wait.
(28:33):
I got the police after me forsome old bullshit, traffic
violations, and you know, Ithink it would be a really good
idea if I just avoided anyoutside pressure for a while.
Well then, this is probably thesafest place you could be.
Tim Millard (28:50):
Well, finally, the last film we're going to talk
about today, george, is the 1988drama Clean and Sober, and that
stars Michael Keaton, kathyBaker and Morgan Freeman.
And this is a really powerfulfilm that it still resonates
today.
And I'll have to say that as Iwas watching it on a personal
(29:11):
note, I just recently lost mycousin's son.
He struggled his whole lifewith addiction and we recently
lost him.
And as I was watching this, Iwas thinking how important it is
that this message continues toget out and I'm hoping that this
new Blu-ray of this fantasticfilm that really tells the story
(29:33):
of addiction, that it will beable to get out there and
resonate with people and do whatit did when it first came out,
which is make a difference.
And it's not a message film,it's an entertaining drama.
It's really well acted.
Michael Keaton is fantastic.
He brings so much personalityto the main character.
(29:56):
Morgan Freeman plays his kindof like the counselor or the
therapist in the group there.
He's always great and he'sgreat in this film.
So it's a really good film.
But if you know anybody, like Idid, it really hits you at a
personal level and it reallyreally has an important message.
George Feltenstein (30:16):
Well, I couldn't agree with you more.
And this was really abreakthrough film for Michael
Keaton, because people only knewhim as Mr Mom or Johnny
Dangerously, and this precedeshim being given the role of
Batman.
He was just only thought of asa comedian, and this showed that
(30:41):
he was a great actor andobviously now has been
recognized in so many differentworks for his talent as a
serious actor.
He was also an excellentcomedian, but there's nothing
funny about this film.
It's very, very serious.
Um, and think about this thethis is before we entered into
(31:05):
the era of the opiate epidemicthat we're still living through
now, but addiction is a problemthat is probably lurking in
anyone's family someplace.
Tim Millard (31:19):
Yeah.
George Feltenstein (31:20):
I think it's very important to also say that
Glenn Gordon Karen who directedthis film.
I would also say that GlennGordon Caron, who directed this
film, he was a talent that wasrecognized for his TV series
Moonlighting, which was thehottest thing on television in
the mid to late 80s, and he wentfrom directing this very
(31:47):
lighthearted comedy mystery showto this very serious drama and
it dealt with an issue that westill have to deal with today
and I'm hoping that peopleseeing this film, that it can
help heal, because addiction isworse than ever, frankly, in
many ways, worse than ever,frankly, in many ways, and
people need to have that kind ofcomfort, the comfort that
(32:15):
Morgan Freeman was able to bringto Michael Keaton in the film.
I'm grateful that we finallybrought this to Blu-ray.
It's been a long time coming.
Tim Millard (32:22):
And, of course, michael Keaton, with his comedic
talent, does keep a lightnessto the film as you're watching,
which you know for a heavy topic.
He keeps it very light andentertaining as you go through
it.
George Feltenstein (32:46):
That's kind of what makes this film work so
well is it's not like thisdepressing, you know,
overwhelmingly upsetting movie.
It's ultimately a movie of hope, and Kathy Baker is really
terrific at playing oppositeMichael Keaton, and I can't say
enough good things about it, andit is like so many films from
that era that have fallen intothe abyss of being forgotten.
I can't believe the movie's 37years old it is.
(33:12):
You forgive people's hairstyles.
There's nothing that dates thestorytelling.
It's a terrific movie.
The Blu-ray looks great, itreally sparkles, and I hope that
people will buy this movie andit will bring entertainment as
well as hopefully healing tomany people, and so I think it's
(33:35):
very important that we've madeit available best possible way.
Tim Millard (33:41):
Yeah, yeah.
It's a great batch of filmsranging from the 50s to the
2000s, from not a musical but atechnicolor film.
George Feltenstein (33:54):
A semi-musical.
Tim Millard (33:55):
A semi-musical.
George Feltenstein (33:56):
Some people call it a musical One song.
You know the dancing.
It's debatable, but I think ofit more as a charming fantasy,
and with enough reality in it tomake you think.
Tim Millard (34:11):
Yeah, and then a noir, a Western and Ryan
Reynolds' film from the 2000s.
So another great month, George,and always fun to talk to you
and go over these films with you.
George Feltenstein (34:25):
Well, I look forward.
Next month is going to be apretty big month.
Yep, it is.
We have a lot of differentprojects in the oven right now,
so the rest of the year is goingto hold a lot of surprises and
a lot of joy.
So just hang in there with usfolks.
We have a lot more for 2025 andbeyond.
(34:45):
Thanks, George, Thank you Tim.
Hello and welcome to the Extras.
I'm Tim Millard, your host, andjoining me is George
Feltenstein to continue ourreview of some of the April
Blu-ray releases from the WarnerArchive, Hi, George.
George Feltenstein (00:09):
George.
Hello, tim, great to be backwith you again.
But the nice thing about theseis that we're talking about five
or six films that range fromclassic film to more modern.
So I love it when we get thatkind of different decades and
(00:35):
different genres.
But the first one I want totalk about is the one
Technicolor film released inApril and that is Lily from 1953
.
And this film is enchanting.
I know the song of love is a sadsong.
I have no better soul.
(01:08):
Hi Lily, Hi Lily.
I know, I know, hi Lily, hi Lily, I know.
Hi Lily, hi Lily I know, I know, hi Lily, hi Lily, I know.
Tim Millard (01:26):
I had not seen this film before and when you read
it this girl, these puppets it'slike okay, we'll see Musical,
you know.
But when you watch it it justlike any good film does it sucks
you in with this innocence andcharm.
It leaves you feeling so goodwhen you're done, and I'm sure
(01:49):
that's a huge credit to both thedirector, charles walters, and,
of course, the cast of leslie,caron and mel, for I just love
this film, george well, I happento love it too, and and uh, it
is really unique.
George Feltenstein (02:10):
It's really not like any other movie, and
people frequently refer to it asa musical, which it really
isn't.
It has one song in it and thereare ballets you know little,
basically dream ballets, as itwere.
(02:30):
But because the song was sobecame very popular, people
think of the film as a musicaland I think that it really is
more of an for lack of a betterword.
It's an enchantment.
(02:51):
It has some darkness to it.
It is beautifully constructed,beautifully written, beautifully
directed by Charles Walters.
Constructed, beautifullywritten, beautifully directed by
Charles Walters and, of course,leslie Caron and all the cast,
(03:14):
but particularly Leslie Caron.
They're all wonderful,everybody in the film is
wonderful and it's only 81minutes long.
And the history of this film isunique.
I may have talked about thiswhen we announced that this
release was coming, but this wasmade at MGM, during a time when
(03:35):
they were starting to dwindledown the amount of musicals.
The studio committed to makingthis movie in three-strip
Technicolor, which means, ofcourse, three times the cost of
film, raw film stock.
So it did have a significantbudget, but not a huge budget,
(03:59):
and it was directed by CharlesWalters, who had directed many
successful MGM musicals, likeEaster Parade and Good News, and
he was held in the highestesteem at the studio.
And this is based on a shortstory by a gentleman named Paul
(04:23):
Gallico.
The studio bought the story andthought it would be an ideal
opportunity to star Leslie Caronin the movie.
When the movie was completed,the studio was very they were
very unsure of its success and alot of executives at the studio
(04:46):
were kind of bad-mouthing itand as they were fumbling, not
knowing what to do, there was anexhibitor in New York who owned
a small chain of theaters.
His name was Harry Brandt, theBrandt Theaters in New York.
The Brandt Theater is in NewYork and he made a deal with MGM
and said I will run this filmat my theater if you'll give me
(05:09):
an exclusive and that nobodyelse gets to run it while I'm
running it.
And they made the deal with him.
The film opened at his theater.
It was one of the Transluxtheaters.
I don't remember exactly whichone.
(05:30):
I'd have to look it up, but thebottom line of it is the film
was a bonanza in terms of boxoffice success.
It got great reviews.
Audiences loved it.
People were going back to seeit multiple times and the studio
(05:50):
basically had to beg to get theexhibitor to allow them to show
the film elsewhere, meaning inother cities and so forth and so
on.
I believe it was nominated forBest Picture.
(06:11):
I think that Leslie Caron wasnominated for Best Actress.
I am certain of that, but Ithink it was nominated for Best
Picture.
It was a surprise success toeveryone, and all the people
that were being naysayers aboutit within MGM suddenly were
(06:38):
praising it to the hilt.
And it was so successful thatwhen movies from 1953 were being
sold to television by MGM inthe early 60s, lily was not part
(06:59):
of what was available forsyndication or sold to networks.
Lily was kept on the shelf andwas reissued in the mid 1960s
and I know that it ran again inone theater in Manhattan, I
believe for like close to twoyears for the re-release, and it
(07:30):
actually made its televisiondebut in the late 60s as part of
a one-season attempt by MGM touse its film library, along with
other special productions, tobe on Friday nights what the
Disney show was on Sunday nightson NBC.
It was called Off to See theWizard and it had animated
(07:52):
versions of the characters fromthe Wizard of Oz Animation was
done by Chuck Jones and Lily andthe Puppets, I think it was
called, was presented over thecourse of two one-hour
broadcasts, and that's how itmade its debut onto television.
It has since been, of course, astaple on home video from the
(08:18):
videocassette days to Laserdiscdays.
Dvd came in 2012.
Didn't look so great.
We needed to do a fullTechnicolor restoration.
We scanned it 4K.
We recombined it almost lookslike 3D.
The colors pop out at you andthe wizards of Warner Brothers
(08:41):
Motion Picture Imaging outdidthemselves.
The score by Bronislaw Kaper isso enchanting and beautiful
that did win an Academy Awardfor best scoring.
I can't speak high enough abouteverybody in the film,
particularly and he's someonereally people don't know today,
(09:02):
which is very sad, because hedid have a level of stardom at
one time Mel Ferrer as thepuppeteer who's secretly in love
with Lily but can only expresshis love through his puppets.
And you know, I saw this filmwhen I was very little and it
(09:24):
just captured me as a child andever since it's always been very
special to me.
I get emotional talking aboutit.
Unique kind of thing.
Uh, that today, now you can getto see it look better than it
(09:53):
looked the day it opened,because of what we can do with
technicolor negatives and, uh,it's a testament to the talent
of Leslie Caron.
Mel Ferrer is wonderful,jean-pierre Aumann is wonderful,
kirk Kasnar, zsa Zsa Gaborthey're all terrific and the
(10:15):
fact that they were able to tellthat story without overblowing
it.
It was very tight filmmaking andI know that there's an
excellent biography aboutCharles Walters, the director
that I recommend highly toanyone who's interested in his
(10:37):
work, and he is not given enoughcredit for the great work he
did, particularly at MGM, givenenough credit for the great work
he did, particularly at MGM.
He didn't limit himself tomusicals.
He directed lots of comediesthat were very successful.
I'm thinking of films like theTender Trap with Debbie Reynolds
(10:58):
and Frank Sinatra, thinking ofPlease Don't Eat the Daisies
with Doris Day and DavidNiveniven.
He was a very efficient,effective director that could do
things very, very well and itjust so happens that we happen
to have a little movie comingout in 4k that was directed by
(11:19):
mr walters.
Little pastiche called HighSociety has been crossed, we
would say Right, and we're goingto have a lot to talk about
when that disc is ready to beunveiled, because I just signed
off on it last night and Icouldn't be more proud or
excited about it.
(11:40):
Charles Walters is not ascredited for his contribution to
film as he deserves to be andthat's why I'm very glad that
such a fine biography waswritten about him.
So he's not forgotten and hepassed away in the early 80s.
(12:03):
He had mesothelioma and didn'treally live to see the
resurgence of interest in hisfilms and people can really
appreciate that Lily really hadhis personal touch, had his
personal touch.
(12:24):
Lily was very much.
You know.
He crafted all the dance andthe ballet and so forth.
Tim Millard (12:33):
It was really, really wonderful.
Yeah, I think that if you're afan of this film and you know it
and you want to get the Blu-rayto see it in this beautiful
Technicolor restoration, thatit's an easy choice to say I'm
going to buy this, or youalready did.
But if somebody doesn't knowthis film, I just want to say
(12:55):
this is an amazing blind buy.
I mean, I kind of compareLeslie Caron and that innocence
that she portrays of this16-year-old girl.
I can't help but think of JudyGarland in the Wizard of Oz and
that innocence that she portraysand the loveliness of the
storytelling.
(13:15):
So if you're a fan of theWizard of Oz, I think you would
also be probably a fan of Lily.
It's a fabulous film and youloaded it with some nice classic
MGM cartoons all in HD and thetrailer, so it has a nice batch
of extras as well.
Clip (13:34):
Joe is no murderer.
He wouldn't hurt anyoneanything.
If he's innocent, mrs Nortonwill help help him.
But we want to locate him now.
I told you I don't know wherehe is.
I haven't seen him.
If you want your husband alive,keep him on this line.
(13:57):
Answer it.
You're trading this car.
Remember, we want him alive asmuch as you do.
Answer it, you're trading thiscar.
Remember, we want him alive asmuch as you do.
Run Joe, run the police aretrading this car.
(14:18):
Nothing, mr Sherrod, hello,nothing.
Tim Millard (14:20):
Well, next, george, we have this Anthony Manoir
side street from 1950, and thisis a terrific thriller starring
Farley Granger and KathyO'Donnell.
As a young couple struggling tomake it in New York, young
postal worker, joe Norton, istempted when, as the poster says
, $30,000 drops into his lap,and the film is really the
(14:43):
spider web of intrigue thatdevelops as Joe faces the
repercussions of his decision.
So it's a terrific story, agreat noir, and it looks
fantastic in this new Blu-rayrelease.
George Feltenstein (14:56):
This is also .
It's a great noir.
It's Anthony Mann, but there'sa third character besides Farley
Granger and Kathy O'Donnell.
That is the city of new york.
Right, it was very unusual forlocation shooting to happen.
Mgm could have made this ontheir backlot, where they had a
(15:19):
new york street, and it wouldhave looked exactly the same as
30 other mgm black and whitemovies of that era.
No, they got the support to goto New York to shoot on location
and the location photography isreally quite amazing.
Tim Millard (15:35):
Yeah, the use of the city is so integral to the
story and Anthony Mann he makessuch interesting choices of
where to place the camera andhow to show the side streets and
the back streets.
I'm thinking of the climacticcar chase scene at the end.
It's epic.
I mean it holds up with any carchase scene today just in terms
(15:59):
of the way that it has thishigh angle shots, the way he's
accentuating this mouse in amaze concept.
It's just fabulous, and I knowthat people love the fact, but
we're so used to seeing thingsfilmed on location.
It's fascinating.
George Feltenstein (16:15):
This was one of the early ones to take
advantage of that, so it'sfabulous to see the use of New
York in this film you know theuse of New York in this film
Well, like I said, the fact thatthey took the time and effort
and spent the extra money tophotograph New York, and it
(16:37):
really encapsulates what thecity looked like when they were
shooting 1949.
You know, I mean it'sremarkable.
As someone who grew up there, Ilove seeing what it looked like
back then.
I'm fascinated by it.
I always love seeingphotographs and films and it's
(16:59):
very rare that you see filmslike that.
Tim Millard (17:02):
Yeah.
George Feltenstein (17:19):
What makes this really exciting is, yeah,
several years ago we put the twoof them together, uh, which
made for a really nifty doublefeature.
But now, with this beautifulnew remaster, our old master
wasn't terrible, but uh, what wehave now is so immaculate and
clean.
It really brings you right tothe forefront of New York City
(17:43):
at that era and I also thinkit's pulse-pounding,
edge-of-your-seat film viewing.
It is just a great,suspense-filled film and the
performances are terrific.
The direction is terrific.
The photography by John Alton,one of my favorite
cinematographers.
(18:04):
It's wonderful.
People need to add this film totheir collection.
Tim Millard (18:11):
It is a need, yeah, and I love the extra feature
that you have there wheretemptation lurks, because it
does give you a lot of thebackground of filming in New
York and how unique that was andthings of that nature.
And then you've got a nicefeature commentary with film
historian Richard Schickel, andthose give you a lot of
(18:35):
information for those who wantto know a little bit more about
the production and the whole NewYork filming and the importance
of all that.
So those are great.
Those are on there.
You've got a bunch of otherclassic cartoons and A Crime
Does Not Pay Short and then thetrailer.
(18:56):
So it's a really fantasticrelease with all of these extras
.
George Feltenstein (19:01):
I'm delighted by it.
I mean, even when I saw thepackaging and we used the
original one sheet, I was likethis is awesome, it's so great
to be able to bring these filmsout with wonderful quality and
with a nice presentation.
And that featurette manages toencapsulate the film's
(19:22):
production history soefficiently in a very brief
running time is really a greatpiece.
Tim Millard (19:29):
Yeah, yeah, yeah, it's great to have that on there
.
Clip (19:32):
Sergeant Snow will give you a receipt for these, mr
McCool, I'm bringing more.
Next time my spread's not toobig, colonel, I'll buy all you
can get me.
How can they buy stock likethat?
That's the sorriest lookingbunch of jackrabbits I ever saw.
You ain't got nothing to sayabout what the army buys anymore
yellow belly.
Never could understand why youwere so particular with us
(19:53):
ranchers, major, unless you weremaking sure those raiders got
good sound horse flesh.
clip (20:00):
Sir Kearney's giving the army a bad name hanging around
like this.
I know we don't havejurisdiction over him anymore,
but I wish there were some wayto get him out of town.
Clip (20:09):
He'll be leaving soon, Lieutenant Captain Tenick.
Captain Tenick, I see youhaven't got my gold leaves yet.
You're mighty brave with thatwhip, Captain.
I'll be back without my whipwhen I get my through the
railhead.
(20:29):
There's something eating thatfella.
Tim Millard (20:37):
Well, next, george, we have springfield rifle from
1952 starring gary cooper, and Iknow you know the title
accentuates the rifle, but thisis really a spy, mystery,
western, uh.
All these genres broughttogether and it's totally
riveting.
I think this film is a greatfun and I think this new HD scan
(20:59):
is just beautiful.
George Feltenstein (21:02):
Well, this, this film was a bit of a
challenge because it was one ofthe earliest films shot in the
dreaded Warner color process.
Right, warner color wasessentially using Eastman color
negative and the processing doneby the Warner color lab was not
particularly wonderful.
Processing done by the WarnerColor Lab was not particularly
(21:24):
wonderful and films shot inWarner Color tend to have a
pretty shoddy reputation fortheir looks.
This is the best the film hasever looked, certainly on any
home entertainment venue, and wehad to work with the negative
and the separations to bring thebest out of this film and it
(21:51):
looks much better than I've everseen it.
Gary Cooper is terrific.
He really carries the film andyou have the unappreciated
talent unappreciated by themasses.
A lot of people don't know thename Andre de Toth.
He was the one-eyed director ofthe 3D masterpiece House of Wax
(22:15):
.
He was most definitely anauteur.
He had a great sense of styleand anything that has his credit
on it is definitely worthlooking at.
This film was very successful atthe box office when it came out
.
It was very rare that garycooper had a misfire at the box
(22:37):
office because he was top drawerattraction and, uh, this is
just one of his many films, thatwe have a huge amount of great
Gary Cooper movies that we wantto bring out, and I can say that
about 20 other Hollywoodlegends.
We have so much that we want tobring out and there's just so
(23:01):
many hours in the day and somuch dollars in the budget hours
in the day and so much dollarsin the budget.
But we finally got toSpringfield Rifle and now it's a
very enjoyable, beautifulBlu-ray and we added a couple of
cartoons from the same year,some very well-loved ones, and I
think it's a terrific disc andpeople will enjoy it.
Tim Millard (23:22):
Yeah, yeah, if you're a fan of Gary Cooper, if
you're a fan of westerns and and, uh, this one, like I said, it
crosses into this spy genre um,it's, uh, it's a lot of fun,
you're going to want to add itto your home collection for sure
hey, look who's here.
Clip (23:40):
What's up, hollywood?
How'd the big date go it?
was terrible.
I went in for a kiss, but shewants a hug, okay.
Then I get caught in a sort ofkiss, hug, limbo type thing.
I don't know what that is.
Then I ended up shaking herentire body.
So you gave her a body shake oh.
God, I should have just kissedher what am I doing.
Looks like you picked up rightwhere you left off.
(24:00):
You're back in the friend zone.
Tim Millard (24:03):
Well, next we're going to skip forward to 2005,.
George, and that's to talkabout the film Just Friends.
And this has an all-star castof Ryan Reynolds, amy Smart,
anna Paris and Chris Klein.
And this is it's a comedy andit really is a funny film.
It has the trademark RyanReynolds humor.
(24:25):
He's always engaging to watch.
And then Amy Smart is perfectlycast as his best friend that,
of course, he's always been inlove with and wanted to
transition into dating.
And then Anna Faris she's justso wacky and funny and out there
, which is totally what shebrings to the film and I really
(24:46):
enjoyed it.
It was a lot of fun to watchand I'm glad that it's finally
come out on Blu-ray because ithas a lot of fans.
George Feltenstein (24:53):
It has a very robust fan base.
It's also a favorite at holidaytime, and it was shocking to me
when I was doing research and Ifound out that there had never
been a Blu-ray in the UnitedStates of this New Line film,
because it was released in 2005and Blu-ray started to become
(25:19):
part of our lives around late2006 and so forth.
This wasn't considered by NewLine Home Entertainment and New
Line Home Entertainment foldedabout a year later and Warner
Home Video took over all NewLine activity not just
distribution but marketingeverything and this film got
(25:40):
left out and I just I knew a lotof people had been asking about
it Social media, there wassomething out there from other
countries that was interlacedand it wasn't the right aspect
ratio, and so we were able toput together a disc that not
(26:01):
only puts the film in awonderful light but also has all
the cool extras that New Lineproduced for the DVD release.
And this is another film wherewhat first got out into the
market had problems.
The 5.1 track was missing, thespecial features were missing.
(26:25):
So this is another film where wehave a disc replacement program
to be easy for those who ended.
I mean, we caught it very early, so there's very few bad copies
out there.
But for those who have a copythat doesn't have the 5.1 audio,
doesn't have the the specialfeatures, they can go to your
Facebook group and finddirections on how to get their
(26:52):
replacement copy.
They can also find thatinformation on various
enthusiast forums.
Yeah, so the word is out.
Yeah, I'll also put that in theshow notes here of the podcast
as well, so it's just a oneclick for people to find and get
to that information as someoneto watch, that we knew his
(27:24):
career was going places, but Idon't want to spoil it for
anyone but not unlike his morerecent movies, there is
something that he does at theend of this movie at the end
credits that's worth the priceof ownership.
That is signature Ryan Reynoldshumor and I think it's a great
(27:48):
deal of fun and I'm glad we wereable to bring it to the folks.
Yeah, yeah.
Clip (27:52):
Can I help you?
Nice barns.
Yeah, I heard about the programand it sounds really good to me.
I just want to make sure Iunderstand the deal as far as
the confidentiality aspect isconcerned.
Yes, well, the program iscompletely confidential.
So no one would have to know Iwas in here, not unless you
wanted them to know.
Great, you take Blue Cross.
Yes, we do.
(28:13):
Good, let's say someone foundout I was in here and tried to
call me, or I wanted to get inhere and bother me or something.
Let me tell you what I asked.
I'm going to let it wait.
(28:33):
I got the police after me forsome old bullshit, traffic
violations, and you know, Ithink it would be a really good
idea if I just avoided anyoutside pressure for a while.
Well then, this is probably thesafest place you could be.
Tim Millard (28:50):
Well, finally, the last film we're going to talk
about today, george, is the 1988drama Clean and Sober, and that
stars Michael Keaton, kathyBaker and Morgan Freeman.
And this is a really powerfulfilm that it still resonates
today.
And I'll have to say that as Iwas watching it on a personal
(29:11):
note, I just recently lost mycousin's son.
He struggled his whole lifewith addiction and we recently
lost him.
And as I was watching this, Iwas thinking how important it is
that this message continues toget out and I'm hoping that this
new Blu-ray of this fantasticfilm that really tells the story
(29:33):
of addiction, that it will beable to get out there and
resonate with people and do whatit did when it first came out,
which is make a difference.
And it's not a message film,it's an entertaining drama.
It's really well acted.
Michael Keaton is fantastic.
He brings so much personalityto the main character.
(29:56):
Morgan Freeman plays his kindof like the counselor or the
therapist in the group there.
He's always great and he'sgreat in this film.
So it's a really good film.
But if you know anybody, like Idid, it really hits you at a
personal level and it reallyreally has an important message.
George Feltenstein (30:16):
Well, I couldn't agree with you more.
And this was really abreakthrough film for Michael
Keaton, because people only knewhim as Mr Mom or Johnny
Dangerously, and this precedeshim being given the role of
Batman.
He was just only thought of asa comedian, and this showed that
(30:41):
he was a great actor andobviously now has been
recognized in so many differentworks for his talent as a
serious actor.
He was also an excellentcomedian, but there's nothing
funny about this film.
It's very, very serious.
Um, and think about this thethis is before we entered into
(31:05):
the era of the opiate epidemicthat we're still living through
now, but addiction is a problemthat is probably lurking in
anyone's family someplace.
Tim Millard (31:19):
Yeah.
George Feltenstein (31:20):
I think it's very important to also say that
Glenn Gordon Karen who directedthis film.
I would also say that GlennGordon Caron, who directed this
film, he was a talent that wasrecognized for his TV series
Moonlighting, which was thehottest thing on television in
the mid to late 80s, and he wentfrom directing this very
(31:47):
lighthearted comedy mystery showto this very serious drama and
it dealt with an issue that westill have to deal with today
and I'm hoping that peopleseeing this film, that it can
help heal, because addiction isworse than ever, frankly, in
many ways, worse than ever,frankly, in many ways, and
people need to have that kind ofcomfort, the comfort that
(32:15):
Morgan Freeman was able to bringto Michael Keaton in the film.
I'm grateful that we finallybrought this to Blu-ray.
It's been a long time coming.
Tim Millard (32:22):
And, of course, michael Keaton, with his comedic
talent, does keep a lightnessto the film as you're watching,
which you know for a heavy topic.
He keeps it very light andentertaining as you go through
it.
George Feltenstein (32:46):
That's kind of what makes this film work so
well is it's not like thisdepressing, you know,
overwhelmingly upsetting movie.
It's ultimately a movie of hope, and Kathy Baker is really
terrific at playing oppositeMichael Keaton, and I can't say
enough good things about it, andit is like so many films from
that era that have fallen intothe abyss of being forgotten.
I can't believe the movie's 37years old it is.
(33:12):
You forgive people's hairstyles.
There's nothing that dates thestorytelling.
It's a terrific movie.
The Blu-ray looks great, itreally sparkles, and I hope that
people will buy this movie andit will bring entertainment as
well as hopefully healing tomany people, and so I think it's
(33:35):
very important that we've madeit available best possible way.
Tim Millard (33:41):
Yeah, yeah.
It's a great batch of filmsranging from the 50s to the
2000s, from not a musical but atechnicolor film.
George Feltenstein (33:54):
A semi-musical.
Tim Millard (33:55):
A semi-musical.
George Feltenstein (33:56):
Some people call it a musical One song.
You know the dancing.
It's debatable, but I think ofit more as a charming fantasy,
and with enough reality in it tomake you think.
Tim Millard (34:11):
Yeah, and then a noir, a Western and Ryan
Reynolds' film from the 2000s.
So another great month, George,and always fun to talk to you
and go over these films with you.
George Feltenstein (34:25):
Well, I look forward.
Next month is going to be apretty big month.
Yep, it is.
We have a lot of differentprojects in the oven right now,
so the rest of the year is goingto hold a lot of surprises and
a lot of joy.
So just hang in there with usfolks.
We have a lot more for 2025 andbeyond.
(34:45):
Thanks, George, Thank you Tim.
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