Warner Archive's March Blu-ray releases span nine decades of entertainment history, from a 1934 Joan Crawford classic to 1970s action films and beloved Hanna-Barbera animation. Tim Millard and George Feltenstein discuss the restoration process and cultural significance of these diverse titles.
• Sadie McKee (1934) showcases Joan Crawford's evolution as an actress in a restored version that looks spectacular despite being over 90 years old
• Monogram Matinee Volume 1 features three entertaining B-movies from 1949 that have been virtually impossible to see for decades
• Earth 2 (1971) receives a gorgeous 4K scan that reveals additional footage from its limited international theatrical release
• Hitman (1972) stars Bernie Casey and a young Pamela Grier in an urban action film that captures the authentic look and feel of early 70s cinema
• The Magilla Gorilla Show required an "archaeological expedition" to reassemble complete episodes as they originally aired in 1964, including reinstating the famous theme song
Purchase links:
THE MAGILLA GORILLA SHOW: The Complete Animated Series (1964-66) Blu-ray
MONOGRAM MATINEE VOL. 1 (1949) Blu-ray
EARTH II (1971) Blu-ray
THE FOUR HORSEMEN OF THE APOCALYPSE (1921)-1993 PHOTOPLAY RESTORATION Blu-ray
The Extras Facebook page
The Extras Twitter
Warner Archive & Warner Bros Catalog Group
As an Amazon Affiliate, The Extras may receive a commission for purchases through our purchase links. There is no additional cost to you, and every little bit helps us in the production of the podcast. Thanks in advance.
Otaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers. Contact us today to see how we can work together to achieve your goals. tim@theextras.tv
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Tim Millard (00:06):
Hello and welcome to the Extras.
I'm Tim Millard, your host, andjoining me is George
Feltenstein to review some ofthe March Blu-ray releases from
the Warner Archive.
George Feltenstein (00:15):
Hi George, Hi Tim, Great to be with you, as
always.
Tim Millard (00:19):
As always, and I love these review episodes.
You know it's fun.
We have the announcementepisodes and of course that's
fun.
We have the announcementepisodes and of course that's
the surprise.
Right, that's the reveal.
And then the review episodes.
It's fun to get back and talkwith you about how my
impressions were in seeing theserestorations and, of course,
the enjoyment of the film.
So that's the fun part of kindof both of those the
(00:43):
announcement and then thereviews.
So looking forward to it.
We've got, uh, two older films,two modern classics, and then
we do have the tv series mcgillagorilla, which we'll talk about
, and that has quite a nicestory about the restoration,
everything.
So, uh, looking forward tohearing your uh on that and
(01:04):
telling us that story a littlelater on in the podcast.
George Feltenstein (01:09):
It sounds great and I really do.
I feel the same way as you.
I'm always excited to hear whatyou think of what you've seen
once the releases are ready andthey're in your hands, and I'm
always excited to hear youropinion.
I think it makes these podcastsexciting because they're fresh
(01:31):
conversations.
It's not like we've talkedabout this stuff prior to
recording.
Tim Millard (01:35):
Yeah, exactly, Exactly.
Well, I thought we'd start offwith the oldest of the films
today, and that's Sadie McKeefrom 1934.
And I'm going to be a bit of abroken record, because every
time we talk about thesewonderful Joan Crawford films
and this one is over 90 yearsold George.
Yeah, 91 years old 91 years oldand yet with the restoration
(02:00):
work that you guys did, it looksfantastic and that just makes
it so accessible for fans.
Maybe you could tell us alittle bit about that
restoration.
George Feltenstein (02:10):
Well, we were working from a second
generation fine grain masterpositive that was made as part
of MGM's preservation program inthe 1960s, and the original
negative, of course, is one ofthe many black and white MGM
(02:31):
films that were lost in the fire.
But these protection elementsthat were made before that yield
us spectacular results, and Ithink Sadie McKee looks and
sounds terrific.
Tim Millard (02:44):
Yeah, and that's so important with the film that's
over 90 years old that it looksthis good, because that makes it
so much more accessible toyounger audiences who have never
seen the film, and, of course,it's such a great thing for fans
of the film.
Well, let's talk a little bitabout Joan and her performance.
(03:06):
She, I guess, is this kind of ayoung woman who is her mom, is
a cook for a kind of a wealthyfamily, I guess, out in the in
this town, and she grows up withbeing friends with some of the
wealthy children, but she has afirst love and that doesn't
(03:32):
really work out.
So she moves to the city andthen she eventually marries for
money and I mean it's just ragsto riches and it's fantastic.
It's set, I guess, right inthat post-depression era and
it's really fun.
It's a great showcase for herand just reminds me every time I
(03:53):
see her of why she was such acompelling and important star of
that era.
George Feltenstein (03:57):
Oh, absolutely, and this is as she's
shifting from the flapper.
As she's shifting from theflapper, you know, in the late
20s, like our dancing daughters,and we even saw it in Dance
Fool's Dance, which you and Italked about, from 1931.
This is as she's starting tomature a little bit and I think
(04:20):
she also improved as an actress,and this is post Grand Hotel.
So Grand Hotel really was abenchmark for her career in the
studio, looking to provide herwith, you know, class A vehicles
that would show off her talent.
(04:42):
And this is directed byClarence Brown, who is one of
the great MGM directors.
It's solid entertainment, it'swell-written and it also shows
off the MGM house style in termsof the way it's photographed,
the sets, the costumes.
It's everything that helpeddepression audiences escape the
(05:05):
realities and horror of thedepression and into this dream
world that MGM was able tocreate really as no other studio
could at that time.
And it's a time capsule for somany reasons.
And you also have Joanco-starring with her soon-to-be
(05:28):
second husband, franchotone.
Gene Raymond is also a loveinterest and introduces the song
All I Do Is Dream of you, whichmost people who are listening
to this podcast would probablyremember more from Singing in
the Rain, and you've got EdwardArnold as the wealthy benefactor
(05:53):
whose money is very, veryattractive to Sadie McKee.
But will she find true love?
That's the answer the filmprovides.
Tim Millard (06:03):
Right, right, and it's based off of.
Was it based off of a play or abook?
George Feltenstein (06:07):
uh, I believe it was a story by vina
del mar, who is a popular writerof the year.
I think she's in the trailer.
Uh, I'm certain of it.
Yeah, they show vina del mar atthe typewriter.
Tim Millard (06:20):
You know that's right, that's right, right, yeah
, I, yeah, I mean it's, it's,it's highly entertaining it's.
You know it's got that, uh,that wish fulfillment for folks
like you say who were, uh, youknow, maybe young women working
so hard as maids or or in in, uh, those types of jobs, uh, to to
meet somebody wealthy and andto be swept off.
(06:43):
You know it's got all of thatbuilt in.
But you know, the nice thingabout it is that she, she, well,
we won't give it away, but shehas three different loves and
each one kind of represents adifferent part of her life and
her story and her arc and reallyis is a lot of fun.
So, and then you have some niceextras on here.
(07:04):
You've got 1934 cartoons all inHD.
Pop goes your heart shake, yourpowder puff and why do I dream
those dreams and the trailer.
So a really great package withthis release.
George Feltenstein (07:19):
And of course I am very enamored of the
artwork we put on the cover.
That's one of the originalcampaigns and it's kind of
unique in its design.
It's a little different and itjust makes a nice package to
have on your shelf.
Tim Millard (07:37):
Right, and I forgot to mention the director,
clarence Brown.
George Feltenstein (07:40):
Clarence Brown, of course.
Tim Millard (07:42):
Yep, yep, so terrific fun, and you've been
telling classic film fans thatthere would be some good stuff
coming, and so this is, I think,probably right in the
wheelhouse.
It should make a lot of themvery happy to have gotten this.
George Feltenstein (07:56):
Well, and I think this is probably a good
time to mention this Davisversus Crawford thing, you know
continues to be a thing, forlack of a better word and people
have been saying Betty Davis isso underrepresented.
(08:16):
So we'll get the word out therethat we actually have four
different Betty Davis movies indifferent forms of production
right now, so people can lookforward to more Betty, as well
as a bit more of Joan too.
There's a lot of good stuff inthe works right now.
Tim Millard (08:40):
Well, our next release is really three films,
george, from 1949 that are partof what you called Monogram
Matinee, volume 1.
And all three are totallyenjoyable.
I enjoyed all of them, but dueto the length of about an hour
they really do have that matineefeel, or almost like TV
(09:00):
episodes in some ways.
Almost Really easy to watch,fast paced, because they have
the pace of a feature versus aTV series, but they have the,
the uh, the only runtime youknow, more like TV, but really
fun, and I I think that, uh, myvote is a big thumbs up that you
continue to do these.
I hope that the fans willsupport it.
(09:22):
But that very first film,mississippi Rhythm, I mean I
thought of the three thatdefinitely is the jewel and
worth getting this alone justfor that one.
That's my opinion, though Ienjoyed all three.
George Feltenstein (09:37):
It's interesting you say that because
that film is actually whatMonogram the B studio.
They referred to it as anA-level picture for them.
Yes, and country singer JimmyDavis, who was the.
He was a two-time governor ofLouisiana and before this I
(10:02):
think we talked about this whenwe announced it, but he had been
in a film for Monogram that waskind of autobiographical,
called Louisiana.
Then he made Mississippi Rhythmand he's very well regarded in
country music circles, moviestar maybe, kinda.
(10:23):
But the whole thing of thesemonogram films is they're so
unpretentious and they're socharming, they're so
entertaining and they'vebasically been impossible to see
unless we have released them.
We did a lot of DVDs ofmonogram cowboy collections.
(10:45):
We did 10 of those.
So this is the first Blu-rayattempt to work with monogram
productions and I find thislibrary endlessly fascinating.
And the second and thirdfeatures feature two of their
(11:06):
big cowboy stars Johnny MacBrown, who had been with
Monogram for many years by thispoint, and Whip Wilson, who was
relatively new to Monogram atthis point.
Wick wolson films are about 52,53 minutes a piece, which makes
them pretty much just like a1950s hour-long tv program would
(11:33):
have been right, not countingthe commercials.
So they're incredibly efficientin their storytelling, they're
entertaining, they're fun andyou haven't been able to see
these films really until nowWestern Renegades, which is the
Johnny Mac Brown movie, we hadincluded in one of our monogram
(11:56):
cowboy DVD collections, but theother two probably haven't been
viewable by anyone unless theyhad a 16 millimeter print in
their collection, probably for40 years or even more.
Because Monogram was not a majorstudio.
They started to try to be amajor studio by creating an
(12:19):
A-level subsidiary, alliedArtists, and Allied Artists
would make two or three A-levelmovies per year and it
eventually became the in thebest interest of the company
that the company would be calledAllied Artists and they phased
Monogram out.
(12:40):
But they still mostly made Bpictures.
But because they weren't one ofthe big majors, they sold their
films to television when allthe big studios were afraid to
do so because they didn't wantto alienate the theater owners.
So in the late 1940s, early1950s you would see a lot of
(13:13):
British movies on television.
You would see some independentlyproduced movies on television,
but Monogram was all over thechannels.
But Monogram was all over thechannels and by the late 60s,
early 70s they were basicallygone, with the exception of some
of the series films that theydid, like the Bowery Boys, which
obviously were very popular insyndication for decades
(13:33):
thereafter.
But these Westerns werebasically overlooked, I would
say humbly, until we started theMonogram Cowboy Collection.
There was just no mainstreameffort to focus on these films,
and they play an important partof moviedom.
(13:57):
It wasn't, all you know, bigbudget motion pictures coming
from the big studios, and soit's a nice change of pace, and
the fact that we can get threefeatures remastered on one disc
provides great value as well.
Tim Millard (14:13):
Yeah, yeah, and the Western Renegades.
It really is a great showcasefor Johnny Mac and his skills
riding horses and his horse isbeautiful, and then it puts him
in that very historic light.
I loved it.
I thought it was fantasticcrashing through.
I thought that one had a prettydecent, really compelling
(14:35):
storyline, with the goldshipments on the stagecoach
being robbed and everything wasvery compelling.
So I think these are definitelyworth putting out and I think
physical media is a great placeto put them.
You know what I mean.
I think when you get themrestored in HD so that they look
good and they sound good, youcan really enjoy it.
(14:58):
And I think it's the collectorwho's going to want to get these
Exactly and love them.
You know, because these are notgoing to be the kinds of films
that are going to get put on astreaming service, because they
barely put any older films on tobegin with, and so for the
Warner Archive to put these outfor collectors to have them on
physical media, I think isfantastic.
George Feltenstein (15:20):
That's part of our mission statement.
Rare and hard to find is whatwe started out saying, and we're
continuing to try and servethat need as well as others.
Tim Millard (15:33):
Yeah, and I think this really does that and hits
it out of the park.
So I hope that people supportthese.
I really really enjoyed it.
Well, we'll jump a few decadesfrom 49 to the 70s, george,
because we have two films thatyou released in March and the
(15:55):
first one we'll talk about isfrom 1971.
And that's the sci-fi filmEarth 2.
And I didn't know what toexpect with this film other than
what you said in theannouncement podcast.
But this is a really well done,serious film and you can really
(16:15):
feel the earnestness of thefilmmakers to make this very
accurate for its era and theeffects and everything.
And the idea of the spacestation that's orbiting Earth is
Earth 2.
I mean, considering that wehave a space station that does
(16:36):
that on a smaller scale.
Of course, it's not a full, youknow, place where people are
living per se, but I thought itwas really compelling and really
interesting to watch.
It's of its era, but it'sreally well done, this film.
George Feltenstein (16:51):
Well, and I think that when you watch it,
you know I have had a theorythat this didn't go to series
because of the cost of thespecial effects.
Right, because everything elsewas there in terms of the
character development.
There was a great sense ofintelligence to this.
Right, and you know, castingGary Lockwood in the lead three
(17:15):
years after 2001,.
The Space Odyssey, all theelements were there for
something that could be verysuccessful and it never went
beyond this two-hour TV slottelefilm.
But we've found that there waseven more footage in the camera
(17:37):
negative.
There was even more footage inthe camera negative which we
attribute to a very limitedinternational theatrical release
and the trailer on the disc isfrom that international
marketing initiative.
So you know, some people weresaying, well, I don't think this
ever got an internationalrelease.
(17:58):
Well, it did, but it justwasn't very significant.
Right, but many studios,including MGM, most notably, I
think, universal.
Universal used to frequentlyput telefilms out in the
theatrical market overseas, inthe theatrical market overseas,
and MGM did it a lot during the1960s, especially the man From
(18:26):
UNCLE double episodes became bigmovies all around.
Nonetheless, this is.
I think it looks gorgeous.
That was the thing I was themost excited about because we
had released this on DVD I'mgoing to say either in 2009 or
2010,.
And it looked old, you know.
Now, with a 4K scan off thecamera, negative, it really hits
(18:50):
the sweet spot, especially forsci-fi fans.
Tim Millard (18:53):
Right, and of course, so much good sci-fi you
know, later in that decade.
So much good sci-fi of coursecomes from the 70s and it felt
like in watching, like the setsin this, george and the effects
that it did a really good job ofcreating, probably in some ways
almost establishing a look thatwas used by probably other TV
(19:17):
shows later in that decade.
So it was very interesting tosee the production value and the
production design in this for a1971 telefilm.
So that was a lot of fun towatch.
Well, george, we have one more70s film from 1972, and that's
(19:40):
Hitman.
And this is another urban actionfilm, similar to the other
films you've recently releasedBlack Eye and Black Belt Jones
and just like those films, itbrings the goods.
If you're a fan of these edgyurban stories, you're going to
(20:02):
enjoy that look of the 70s, thatfilm grain, the music it just
takes you back to that era.
You've got the action andBernie Casey is really good in
this role of Tyrone, a man who'slooking into the death of his
brother, and the action is itjust keeps his story really,
really moving.
George Feltenstein (20:23):
I mean you can tell that he had star
quality and that's why he becamesuch a popular leading man in
the 70s in these films and, aswe've discussed, when we
announced this, this wasactually a remake of Get Carter,
which had only come out theyear before the film with
(20:43):
Michael Caine, which was a bighit, and MGM was having serious
financial troubles in 1972.
And it was very inexpensive totake that script and basically
tailor it for someone likeBernie Casey to lead an action
(21:07):
packed, you know, tightly made,well constructed action film.
And it really does take youback because it's certainly a
product of its time and, yes,there is a lot of film grain
visible, because that's what thefilm stocks were like at that
time.
Tim Millard (21:28):
And we're not, you know erasing that.
George Feltenstein (21:29):
This was a 4K scan off the camera negative
and we retained the grain sothat people see the film as it
was meant to be seen.
Tim Millard (21:41):
It's as simple as that, yeah, and we can't, you
know, not talk about this.
The appearance of Pam Greer inhere as well, and she's very
compelling in this film.
She's, she looks very young shewas very young.
George Feltenstein (21:55):
Yeah, this was one of her earliest films
and she's I believe she's billedas Pamela.
You know she didn't become Pamyet, but she just skyrocketed to
superstardom and her popularitycontinues.
I think this is no big secret.
(22:18):
But when she did Jackie Brownfor Quentin Tarantino, which was
28 years ago, dear God, youknow, that reestablished her
cinematic legacy because sheworked so often, she was in high
demand and she had star quality.
(22:39):
That's why, when you put BernieCasey and Pam Grier in a film,
you've got dynamic duo, starquality.
It's absolutely true.
Tim Millard (22:50):
Yeah, it's.
I mean, hopefully people havebeen collecting these that
you've been putting out so thatthey can build their collection
at home, because these arereally a lot of fun and I love
the fact that now they look, youknow, with the restoration and
being in HD and everything, theylook really good and I love the
grain.
I just immediately, when I seethese films, the look takes me
(23:15):
to that era immediately.
That, along with the music, ofcourse, is so key to these.
George Feltenstein (23:22):
I'm glad you enjoyed it.
I really am.
I was looking forward to whatyour thoughts were.
Tim Millard (23:28):
And I hate to mention this, george, only
because and maybe I'll have tocut this out of the podcast, but
you know I love that era thatled right into that
blaxploitation.
And then those early martialarts films, right, and I'm
hoping that this is you know,that these can lead to more of
(23:50):
that genre in the future fromthe world.
George Feltenstein (23:52):
We have many more in the works.
That's terrific.
Tim Millard (23:56):
Well, I mentioned earlier that we would be talking
about the gorilla in the room,mcgilligrilla, so I think we
should do that now, since we'vegone through all the others.
But I know there's a reallyinteresting story about what
went into bringing this to thefans, and I did want to give you
a chance to tell us about it,because when I watched the
(24:17):
episodes having all of the musicin there, having the ads,
having the bridges, bumpers, allof these things really added to
the enjoyment and theexperience of watching these.
George Feltenstein (24:32):
So the task here was to try to reassemble
these shows as they were firstseen, and I know I spoke a bit
about this when we talked aboutthe announcement.
But this was a hugearchaeological expedition.
(24:54):
Huge archaeological expeditionBecause if you go to our
inventory and you type inMcGillicorilla Show, nothing
will pop up.
I think that may be differentnow, but we started working in
earnest on many Hanna-Barberaprojects as long as two years
(25:14):
ago with the hopes of upgradingthe quality of what we had.
And, to be blunt, Hanna-Barberashows with the exception of,
let's say, the Flintstones orthe Jetsons, these segmented
shows that had multiplecharacters, were chopped up and
(25:38):
the segments themselves wereisolated.
And that's how you saw them,let's say, on Cartoon Network,
Boomerang or even the DVD thatcame out of the McGillicuddy
Gorilla Show.
It didn't have the theme songon there, one of the most famous
TV theme songs.
Right didn't have the theme songon there one of the most famous
tv theme songs, right, and Idon't really know.
(25:58):
I was here but myresponsibilities were primarily,
uh, built only aroundtheatrical catalog.
So, um, no one consulted me onwhat.
The dvd when it came out and Igot and I was like, where's the
theme song?
Why?
I think they may have had somekind of a sample on there, if I
(26:22):
recall, but these were notpresented as the McGillic
gorilla show, it was justsegments and it was the same way
on television.
So the task at hand for mycolleagues in the preservation
department and the masteringdepartment and yours truly, our
goal here was to present theMcGillicuddy Gorilla Show as it
(26:44):
originally first was seen infirst run syndication the
beginning of 1964, with all thereferences to Toys put back into
the programs, and it was very,very exciting to make that
happen.
Making it happen was anenormous task because pretty
(27:10):
much from the later part of the1960s forward people were only
concerned with the segments.
So our inventory would just sayMagilla Gorilla and have the
names of the Magilla Gorillacartoons, the segments, but not
(27:31):
the half-hour shows, and we hadto reconstruct them.
We had to go through files thatwere over 60 years old, or
almost 60 years old, to try tofind the proper documentation
because McGillig, gorilla andthe Peter Potamus show were both
(27:52):
produced simultaneously.
Peter Potamus came on, I think,in September of 64.
But Ideal Toys was involved insupporting both shows and they
eventually moved out of firstrun syndication to the Saturday
morning slot for McGill andGorilla on ABC and Peter Potamus
(28:15):
was on Sundays on ABC and thenthey went into syndication
reruns after that.
But what happened was McGillwas a big, big hit and Peter
Potamus didn't quite catch onwith the audiences in the same
way.
So they took the RicochetRabbit segments, I should say,
(28:39):
from the McGilligurrilla showand put them into Peter Potamus'
show, and they took the GoofyGuards from Peter Potamus' show
and put them in McGilligurrilla.
So they were messing with it asearly as the late 1960s and all
references to Ideal Toys werenever to be seen again.
(29:00):
So our goal was to put all thisback together and nothing was
inventoried properly.
And the fact that we found asmuch as we did in terms of the
bridges and the bumpers wasreally kind of remarkable and I
am just so grateful for that.
(29:21):
And I think I did mention thatwe did reach out to a collector
friend who had the curtain call.
We did not have any film on thecurtain call that comes right
before the end credits on theMcGilligrilla show, and a very
(29:43):
wonderful person was kind enoughto lend us his beat up 16
millimeter print which we wereable to bring most of the color
back to and clean it up.
Bring most of the color back toand clean it up, and I'm
delighted with the result and,even more, the response we've
(30:09):
gotten on social media fromconsumers who've bought it.
They're just flipping over thequality and that's what we're
here to do.
So very, very pleased that itturned out to be such a great
release and there's moreHanna-Barbera to come.
We're just getting started.
Tim Millard (30:23):
Yeah, I mean that's a fascinating story to hear
because of how it was cut up forsyndication, the kind of the
treasure hunt that you had to gothrough to find all of these
little bits and piecesreassemble.
To find all of these littlebits and pieces reassemble.
And that means that probablythese haven't been seen like
this, george, since the originalrun.
George Feltenstein (30:43):
Exactly.
I mean even because they kindof swapped segments as part of
the original run.
There were 23 half hours thathad all three characters and
(31:10):
then they mixed things up alittle bit by rerunning certain
segments, but they made anadditional eight McGilligurla
cartoons because there were only23 half hours that were
specifically carved out with theother characters Ricochet,
rabbit and Droopalong andMushmouse and Punkinpuss.
So to have it all together theway it was originally seen is
(31:31):
very important to people wholove the Hanna-Barbera history
and you know Hanna-Barbera liveswithin Warner Brothers and we
want to shine a light on as muchof the Hanna-Barbera output as
(31:53):
we can, the Hanna-Barbera outputas we can, and putting these
things back together is a hugetask and we had done this about,
I'm going to say, seven, eightyears ago for DVD.
We did it with Peter Potamusand that was kind of a dry run
(32:17):
for what was needed forMcGilligrilla and I'm delighted
with the way it's turned out andthe response that it's gotten.
Tim Millard (32:33):
And there will be more of this ilk coming soon.
Well, that's great news foranimation fans and a Barbera
fans, and you have beenpresenting quite a few of these
shows recently and, of course,we have another one coming here
in April Wacky Races and you'resaying there's going to be more
beyond.
So, wow, it's been a great timeto be an animation fan and
(32:55):
Hanna-Barbera fan, george.
George Feltenstein (32:58):
And all the other fans who like very
different things.
We try to have a nicesmorgasbord of choices so that
we're hitting various differentfan groups of different things.
And you know there are peopleout there that groan that there
isn't enough from the 30s or 40s.
(33:20):
And then when we put things outfor the 30s and 40s, people say
, well, there's not enough inthe 70s.
And where are the cartoons?
And we just in for our Mayreleases, which we just talked
about.
There isn't an animationrelease in there and some people
were thrilled about that andsome people were upset about
(33:44):
that.
So we're trying to makeeverybody happy, which is
impossible, but we're doing ourbest to get more of the library
from our vault to people's homeshelves.
Tim Millard (33:55):
Yeah, there's another film, of course, that
was released in March we'regoing to hold off talking about
for a little bit later and thatis Four Horsemen of the
Apocalypse.
You throw that in there, george, and I think you covered quite
a few decades in the month ofMarch.
George Feltenstein (34:12):
Absolutely.
And that's going to be very funto talk about.
I can't wait to hear yourthoughts on that.
Tim Millard (34:17):
Yes.
So while there might not besomething in March for everybody
, you sure covered a lot ofterritory and I think there's
something in March for mostpeople who are fans of the
Warner Archive and fans of allthe great work that you and the
team there at Warner Brothers do.
So well, this is a great month.
Looking forward to anothermonth here in April, as we get
(34:42):
those a little bit later, but,george, it's always a lot of fun
to go over these with you and Ihope the fans will support the
Warner Archive and all of thesegreat releases that you're
bringing to them.
George Feltenstein (34:54):
I share your sentiments emphatically.
Thanks, George.
Thank you so much, Tim.
Tim Millard (35:06):
I forgot to mention that Magilla Gorilla also has a
nice amount of extras, and Iwatch all of them and those are
on there and they look terrific.
If you'd like more informationabout any of the films that we
talked about today and MagillaGorilla, be sure and check out
our Facebook page and our WarnerArchive Facebook group.
(35:27):
We always have informationthere and people can talk about
the films and the TV shows andwhat they love about them as
well, and also post reviews andthings of that nature, so check
that out.
You'll find links in the shownotes here, as well as order
links for each of the films.
If you haven't yet subscribed,or if you're not following the
(35:50):
show at your favorite podcastprovider, I encourage you to do
so.
It helps the show and that wayyou'll get everything delivered
to you, because we have a lot ofexciting announcements and
reviews coming in the future.
Until next time, you've beenlistening to Tim Millard.
Stay slightly obsessed.
Hello and welcome to the Extras.
I'm Tim Millard, your host, andjoining me is George
Feltenstein to review some ofthe March Blu-ray releases from
the Warner Archive.
George Feltenstein (00:15):
Hi George, Hi Tim, Great to be with you, as
always.
Tim Millard (00:19):
As always, and I love these review episodes.
You know it's fun.
We have the announcementepisodes and of course that's
fun.
We have the announcementepisodes and of course that's
the surprise.
Right, that's the reveal.
And then the review episodes.
It's fun to get back and talkwith you about how my
impressions were in seeing theserestorations and, of course,
the enjoyment of the film.
So that's the fun part of kindof both of those the
(00:43):
announcement and then thereviews.
So looking forward to it.
We've got, uh, two older films,two modern classics, and then
we do have the tv series mcgillagorilla, which we'll talk about
, and that has quite a nicestory about the restoration,
everything.
So, uh, looking forward tohearing your uh on that and
(01:04):
telling us that story a littlelater on in the podcast.
George Feltenstein (01:09):
It sounds great and I really do.
I feel the same way as you.
I'm always excited to hear whatyou think of what you've seen
once the releases are ready andthey're in your hands, and I'm
always excited to hear youropinion.
I think it makes these podcastsexciting because they're fresh
(01:31):
conversations.
It's not like we've talkedabout this stuff prior to
recording.
Tim Millard (01:35):
Yeah, exactly, Exactly.
Well, I thought we'd start offwith the oldest of the films
today, and that's Sadie McKeefrom 1934.
And I'm going to be a bit of abroken record, because every
time we talk about thesewonderful Joan Crawford films
and this one is over 90 yearsold George.
Yeah, 91 years old 91 years oldand yet with the restoration
(02:00):
work that you guys did, it looksfantastic and that just makes
it so accessible for fans.
Maybe you could tell us alittle bit about that
restoration.
George Feltenstein (02:10):
Well, we were working from a second
generation fine grain masterpositive that was made as part
of MGM's preservation program inthe 1960s, and the original
negative, of course, is one ofthe many black and white MGM
(02:31):
films that were lost in the fire.
But these protection elementsthat were made before that yield
us spectacular results, and Ithink Sadie McKee looks and
sounds terrific.
Tim Millard (02:44):
Yeah, and that's so important with the film that's
over 90 years old that it looksthis good, because that makes it
so much more accessible toyounger audiences who have never
seen the film, and, of course,it's such a great thing for fans
of the film.
Well, let's talk a little bitabout Joan and her performance.
(03:06):
She, I guess, is this kind of ayoung woman who is her mom, is
a cook for a kind of a wealthyfamily, I guess, out in the in
this town, and she grows up withbeing friends with some of the
wealthy children, but she has afirst love and that doesn't
(03:32):
really work out.
So she moves to the city andthen she eventually marries for
money and I mean it's just ragsto riches and it's fantastic.
It's set, I guess, right inthat post-depression era and
it's really fun.
It's a great showcase for herand just reminds me every time I
(03:53):
see her of why she was such acompelling and important star of
that era.
George Feltenstein (03:57):
Oh, absolutely, and this is as she's
shifting from the flapper.
As she's shifting from theflapper, you know, in the late
20s, like our dancing daughters,and we even saw it in Dance
Fool's Dance, which you and Italked about, from 1931.
This is as she's starting tomature a little bit and I think
(04:20):
she also improved as an actress,and this is post Grand Hotel.
So Grand Hotel really was abenchmark for her career in the
studio, looking to provide herwith, you know, class A vehicles
that would show off her talent.
(04:42):
And this is directed byClarence Brown, who is one of
the great MGM directors.
It's solid entertainment, it'swell-written and it also shows
off the MGM house style in termsof the way it's photographed,
the sets, the costumes.
It's everything that helpeddepression audiences escape the
(05:05):
realities and horror of thedepression and into this dream
world that MGM was able tocreate really as no other studio
could at that time.
And it's a time capsule for somany reasons.
And you also have Joanco-starring with her soon-to-be
(05:28):
second husband, franchotone.
Gene Raymond is also a loveinterest and introduces the song
All I Do Is Dream of you, whichmost people who are listening
to this podcast would probablyremember more from Singing in
the Rain, and you've got EdwardArnold as the wealthy benefactor
(05:53):
whose money is very, veryattractive to Sadie McKee.
But will she find true love?
That's the answer the filmprovides.
Tim Millard (06:03):
Right, right, and it's based off of.
Was it based off of a play or abook?
George Feltenstein (06:07):
uh, I believe it was a story by vina
del mar, who is a popular writerof the year.
I think she's in the trailer.
Uh, I'm certain of it.
Yeah, they show vina del mar atthe typewriter.
Tim Millard (06:20):
You know that's right, that's right, right, yeah
, I, yeah, I mean it's, it's,it's highly entertaining it's.
You know it's got that, uh,that wish fulfillment for folks
like you say who were, uh, youknow, maybe young women working
so hard as maids or or in in, uh, those types of jobs, uh, to to
meet somebody wealthy and andto be swept off.
(06:43):
You know it's got all of thatbuilt in.
But you know, the nice thingabout it is that she, she, well,
we won't give it away, but shehas three different loves and
each one kind of represents adifferent part of her life and
her story and her arc and reallyis is a lot of fun.
So, and then you have some niceextras on here.
(07:04):
You've got 1934 cartoons all inHD.
Pop goes your heart shake, yourpowder puff and why do I dream
those dreams and the trailer.
So a really great package withthis release.
George Feltenstein (07:19):
And of course I am very enamored of the
artwork we put on the cover.
That's one of the originalcampaigns and it's kind of
unique in its design.
It's a little different and itjust makes a nice package to
have on your shelf.
Tim Millard (07:37):
Right, and I forgot to mention the director,
clarence Brown.
George Feltenstein (07:40):
Clarence Brown, of course.
Tim Millard (07:42):
Yep, yep, so terrific fun, and you've been
telling classic film fans thatthere would be some good stuff
coming, and so this is, I think,probably right in the
wheelhouse.
It should make a lot of themvery happy to have gotten this.
George Feltenstein (07:56):
Well, and I think this is probably a good
time to mention this Davisversus Crawford thing, you know
continues to be a thing, forlack of a better word and people
have been saying Betty Davis isso underrepresented.
(08:16):
So we'll get the word out therethat we actually have four
different Betty Davis movies indifferent forms of production
right now, so people can lookforward to more Betty, as well
as a bit more of Joan too.
There's a lot of good stuff inthe works right now.
Tim Millard (08:40):
Well, our next release is really three films,
george, from 1949 that are partof what you called Monogram
Matinee, volume 1.
And all three are totallyenjoyable.
I enjoyed all of them, but dueto the length of about an hour
they really do have that matineefeel, or almost like TV
(09:00):
episodes in some ways.
Almost Really easy to watch,fast paced, because they have
the pace of a feature versus aTV series, but they have the,
the uh, the only runtime youknow, more like TV, but really
fun, and I I think that, uh, myvote is a big thumbs up that you
continue to do these.
I hope that the fans willsupport it.
(09:22):
But that very first film,mississippi Rhythm, I mean I
thought of the three thatdefinitely is the jewel and
worth getting this alone justfor that one.
That's my opinion, though Ienjoyed all three.
George Feltenstein (09:37):
It's interesting you say that because
that film is actually whatMonogram the B studio.
They referred to it as anA-level picture for them.
Yes, and country singer JimmyDavis, who was the.
He was a two-time governor ofLouisiana and before this I
(10:02):
think we talked about this whenwe announced it, but he had been
in a film for Monogram that waskind of autobiographical,
called Louisiana.
Then he made Mississippi Rhythmand he's very well regarded in
country music circles, moviestar maybe, kinda.
(10:23):
But the whole thing of thesemonogram films is they're so
unpretentious and they're socharming, they're so
entertaining and they'vebasically been impossible to see
unless we have released them.
We did a lot of DVDs ofmonogram cowboy collections.
(10:45):
We did 10 of those.
So this is the first Blu-rayattempt to work with monogram
productions and I find thislibrary endlessly fascinating.
And the second and thirdfeatures feature two of their
(11:06):
big cowboy stars Johnny MacBrown, who had been with
Monogram for many years by thispoint, and Whip Wilson, who was
relatively new to Monogram atthis point.
Wick wolson films are about 52,53 minutes a piece, which makes
them pretty much just like a1950s hour-long tv program would
(11:33):
have been right, not countingthe commercials.
So they're incredibly efficientin their storytelling, they're
entertaining, they're fun andyou haven't been able to see
these films really until nowWestern Renegades, which is the
Johnny Mac Brown movie, we hadincluded in one of our monogram
(11:56):
cowboy DVD collections, but theother two probably haven't been
viewable by anyone unless theyhad a 16 millimeter print in
their collection, probably for40 years or even more.
Because Monogram was not a majorstudio.
They started to try to be amajor studio by creating an
(12:19):
A-level subsidiary, alliedArtists, and Allied Artists
would make two or three A-levelmovies per year and it
eventually became the in thebest interest of the company
that the company would be calledAllied Artists and they phased
Monogram out.
(12:40):
But they still mostly made Bpictures.
But because they weren't one ofthe big majors, they sold their
films to television when allthe big studios were afraid to
do so because they didn't wantto alienate the theater owners.
So in the late 1940s, early1950s you would see a lot of
(13:13):
British movies on television.
You would see some independentlyproduced movies on television,
but Monogram was all over thechannels.
But Monogram was all over thechannels and by the late 60s,
early 70s they were basicallygone, with the exception of some
of the series films that theydid, like the Bowery Boys, which
obviously were very popular insyndication for decades
(13:33):
thereafter.
But these Westerns werebasically overlooked, I would
say humbly, until we started theMonogram Cowboy Collection.
There was just no mainstreameffort to focus on these films,
and they play an important partof moviedom.
(13:57):
It wasn't, all you know, bigbudget motion pictures coming
from the big studios, and soit's a nice change of pace, and
the fact that we can get threefeatures remastered on one disc
provides great value as well.
Tim Millard (14:13):
Yeah, yeah, and the Western Renegades.
It really is a great showcasefor Johnny Mac and his skills
riding horses and his horse isbeautiful, and then it puts him
in that very historic light.
I loved it.
I thought it was fantasticcrashing through.
I thought that one had a prettydecent, really compelling
(14:35):
storyline, with the goldshipments on the stagecoach
being robbed and everything wasvery compelling.
So I think these are definitelyworth putting out and I think
physical media is a great placeto put them.
You know what I mean.
I think when you get themrestored in HD so that they look
good and they sound good, youcan really enjoy it.
(14:58):
And I think it's the collectorwho's going to want to get these
Exactly and love them.
You know, because these are notgoing to be the kinds of films
that are going to get put on astreaming service, because they
barely put any older films on tobegin with, and so for the
Warner Archive to put these outfor collectors to have them on
physical media, I think isfantastic.
George Feltenstein (15:20):
That's part of our mission statement.
Rare and hard to find is whatwe started out saying, and we're
continuing to try and servethat need as well as others.
Tim Millard (15:33):
Yeah, and I think this really does that and hits
it out of the park.
So I hope that people supportthese.
I really really enjoyed it.
Well, we'll jump a few decadesfrom 49 to the 70s, george,
because we have two films thatyou released in March and the
(15:55):
first one we'll talk about isfrom 1971.
And that's the sci-fi filmEarth 2.
And I didn't know what toexpect with this film other than
what you said in theannouncement podcast.
But this is a really well done,serious film and you can really
(16:15):
feel the earnestness of thefilmmakers to make this very
accurate for its era and theeffects and everything.
And the idea of the spacestation that's orbiting Earth is
Earth 2.
I mean, considering that wehave a space station that does
(16:36):
that on a smaller scale.
Of course, it's not a full, youknow, place where people are
living per se, but I thought itwas really compelling and really
interesting to watch.
It's of its era, but it'sreally well done, this film.
George Feltenstein (16:51):
Well, and I think that when you watch it,
you know I have had a theorythat this didn't go to series
because of the cost of thespecial effects.
Right, because everything elsewas there in terms of the
character development.
There was a great sense ofintelligence to this.
Right, and you know, castingGary Lockwood in the lead three
(17:15):
years after 2001,.
The Space Odyssey, all theelements were there for
something that could be verysuccessful and it never went
beyond this two-hour TV slottelefilm.
But we've found that there waseven more footage in the camera
(17:37):
negative.
There was even more footage inthe camera negative which we
attribute to a very limitedinternational theatrical release
and the trailer on the disc isfrom that international
marketing initiative.
So you know, some people weresaying, well, I don't think this
ever got an internationalrelease.
(17:58):
Well, it did, but it justwasn't very significant.
Right, but many studios,including MGM, most notably, I
think, universal.
Universal used to frequentlyput telefilms out in the
theatrical market overseas, inthe theatrical market overseas,
and MGM did it a lot during the1960s, especially the man From
(18:26):
UNCLE double episodes became bigmovies all around.
Nonetheless, this is.
I think it looks gorgeous.
That was the thing I was themost excited about because we
had released this on DVD I'mgoing to say either in 2009 or
2010,.
And it looked old, you know.
Now, with a 4K scan off thecamera, negative, it really hits
(18:50):
the sweet spot, especially forsci-fi fans.
Tim Millard (18:53):
Right, and of course, so much good sci-fi you
know, later in that decade.
So much good sci-fi of coursecomes from the 70s and it felt
like in watching, like the setsin this, george and the effects
that it did a really good job ofcreating, probably in some ways
almost establishing a look thatwas used by probably other TV
(19:17):
shows later in that decade.
So it was very interesting tosee the production value and the
production design in this for a1971 telefilm.
So that was a lot of fun towatch.
Well, george, we have one more70s film from 1972, and that's
(19:40):
Hitman.
And this is another urban actionfilm, similar to the other
films you've recently releasedBlack Eye and Black Belt Jones
and just like those films, itbrings the goods.
If you're a fan of these edgyurban stories, you're going to
(20:02):
enjoy that look of the 70s, thatfilm grain, the music it just
takes you back to that era.
You've got the action andBernie Casey is really good in
this role of Tyrone, a man who'slooking into the death of his
brother, and the action is itjust keeps his story really,
really moving.
George Feltenstein (20:23):
I mean you can tell that he had star
quality and that's why he becamesuch a popular leading man in
the 70s in these films and, aswe've discussed, when we
announced this, this wasactually a remake of Get Carter,
which had only come out theyear before the film with
(20:43):
Michael Caine, which was a bighit, and MGM was having serious
financial troubles in 1972.
And it was very inexpensive totake that script and basically
tailor it for someone likeBernie Casey to lead an action
(21:07):
packed, you know, tightly made,well constructed action film.
And it really does take youback because it's certainly a
product of its time and, yes,there is a lot of film grain
visible, because that's what thefilm stocks were like at that
time.
Tim Millard (21:28):
And we're not, you know erasing that.
George Feltenstein (21:29):
This was a 4K scan off the camera negative
and we retained the grain sothat people see the film as it
was meant to be seen.
Tim Millard (21:41):
It's as simple as that, yeah, and we can't, you
know, not talk about this.
The appearance of Pam Greer inhere as well, and she's very
compelling in this film.
She's, she looks very young shewas very young.
George Feltenstein (21:55):
Yeah, this was one of her earliest films
and she's I believe she's billedas Pamela.
You know she didn't become Pamyet, but she just skyrocketed to
superstardom and her popularitycontinues.
I think this is no big secret.
(22:18):
But when she did Jackie Brownfor Quentin Tarantino, which was
28 years ago, dear God, youknow, that reestablished her
cinematic legacy because sheworked so often, she was in high
demand and she had star quality.
(22:39):
That's why, when you put BernieCasey and Pam Grier in a film,
you've got dynamic duo, starquality.
It's absolutely true.
Tim Millard (22:50):
Yeah, it's.
I mean, hopefully people havebeen collecting these that
you've been putting out so thatthey can build their collection
at home, because these arereally a lot of fun and I love
the fact that now they look, youknow, with the restoration and
being in HD and everything, theylook really good and I love the
grain.
I just immediately, when I seethese films, the look takes me
(23:15):
to that era immediately.
That, along with the music, ofcourse, is so key to these.
George Feltenstein (23:22):
I'm glad you enjoyed it.
I really am.
I was looking forward to whatyour thoughts were.
Tim Millard (23:28):
And I hate to mention this, george, only
because and maybe I'll have tocut this out of the podcast, but
you know I love that era thatled right into that
blaxploitation.
And then those early martialarts films, right, and I'm
hoping that this is you know,that these can lead to more of
(23:50):
that genre in the future fromthe world.
George Feltenstein (23:52):
We have many more in the works.
That's terrific.
Tim Millard (23:56):
Well, I mentioned earlier that we would be talking
about the gorilla in the room,mcgilligrilla, so I think we
should do that now, since we'vegone through all the others.
But I know there's a reallyinteresting story about what
went into bringing this to thefans, and I did want to give you
a chance to tell us about it,because when I watched the
(24:17):
episodes having all of the musicin there, having the ads,
having the bridges, bumpers, allof these things really added to
the enjoyment and theexperience of watching these.
George Feltenstein (24:32):
So the task here was to try to reassemble
these shows as they were firstseen, and I know I spoke a bit
about this when we talked aboutthe announcement.
But this was a hugearchaeological expedition.
(24:54):
Huge archaeological expeditionBecause if you go to our
inventory and you type inMcGillicorilla Show, nothing
will pop up.
I think that may be differentnow, but we started working in
earnest on many Hanna-Barberaprojects as long as two years
(25:14):
ago with the hopes of upgradingthe quality of what we had.
And, to be blunt, Hanna-Barberashows with the exception of,
let's say, the Flintstones orthe Jetsons, these segmented
shows that had multiplecharacters, were chopped up and
(25:38):
the segments themselves wereisolated.
And that's how you saw them,let's say, on Cartoon Network,
Boomerang or even the DVD thatcame out of the McGillicuddy
Gorilla Show.
It didn't have the theme songon there, one of the most famous
TV theme songs.
Right didn't have the theme songon there one of the most famous
tv theme songs, right, and Idon't really know.
(25:58):
I was here but myresponsibilities were primarily,
uh, built only aroundtheatrical catalog.
So, um, no one consulted me onwhat.
The dvd when it came out and Igot and I was like, where's the
theme song?
Why?
I think they may have had somekind of a sample on there, if I
(26:22):
recall, but these were notpresented as the McGillic
gorilla show, it was justsegments and it was the same way
on television.
So the task at hand for mycolleagues in the preservation
department and the masteringdepartment and yours truly, our
goal here was to present theMcGillicuddy Gorilla Show as it
(26:44):
originally first was seen infirst run syndication the
beginning of 1964, with all thereferences to Toys put back into
the programs, and it was very,very exciting to make that
happen.
Making it happen was anenormous task because pretty
(27:10):
much from the later part of the1960s forward people were only
concerned with the segments.
So our inventory would just sayMagilla Gorilla and have the
names of the Magilla Gorillacartoons, the segments, but not
(27:31):
the half-hour shows, and we hadto reconstruct them.
We had to go through files thatwere over 60 years old, or
almost 60 years old, to try tofind the proper documentation
because McGillig, gorilla andthe Peter Potamus show were both
(27:52):
produced simultaneously.
Peter Potamus came on, I think,in September of 64.
But Ideal Toys was involved insupporting both shows and they
eventually moved out of firstrun syndication to the Saturday
morning slot for McGill andGorilla on ABC and Peter Potamus
(28:15):
was on Sundays on ABC and thenthey went into syndication
reruns after that.
But what happened was McGillwas a big, big hit and Peter
Potamus didn't quite catch onwith the audiences in the same
way.
So they took the RicochetRabbit segments, I should say,
(28:39):
from the McGilligurrilla showand put them into Peter Potamus'
show, and they took the GoofyGuards from Peter Potamus' show
and put them in McGilligurrilla.
So they were messing with it asearly as the late 1960s and all
references to Ideal Toys werenever to be seen again.
(29:00):
So our goal was to put all thisback together and nothing was
inventoried properly.
And the fact that we found asmuch as we did in terms of the
bridges and the bumpers wasreally kind of remarkable and I
am just so grateful for that.
(29:21):
And I think I did mention thatwe did reach out to a collector
friend who had the curtain call.
We did not have any film on thecurtain call that comes right
before the end credits on theMcGilligrilla show, and a very
(29:43):
wonderful person was kind enoughto lend us his beat up 16
millimeter print which we wereable to bring most of the color
back to and clean it up.
Bring most of the color back toand clean it up, and I'm
delighted with the result and,even more, the response we've
(30:09):
gotten on social media fromconsumers who've bought it.
They're just flipping over thequality and that's what we're
here to do.
So very, very pleased that itturned out to be such a great
release and there's moreHanna-Barbera to come.
We're just getting started.
Tim Millard (30:23):
Yeah, I mean that's a fascinating story to hear
because of how it was cut up forsyndication, the kind of the
treasure hunt that you had to gothrough to find all of these
little bits and piecesreassemble.
To find all of these littlebits and pieces reassemble.
And that means that probablythese haven't been seen like
this, george, since the originalrun.
George Feltenstein (30:43):
Exactly.
I mean even because they kindof swapped segments as part of
the original run.
There were 23 half hours thathad all three characters and
(31:10):
then they mixed things up alittle bit by rerunning certain
segments, but they made anadditional eight McGilligurla
cartoons because there were only23 half hours that were
specifically carved out with theother characters Ricochet,
rabbit and Droopalong andMushmouse and Punkinpuss.
So to have it all together theway it was originally seen is
(31:31):
very important to people wholove the Hanna-Barbera history
and you know Hanna-Barbera liveswithin Warner Brothers and we
want to shine a light on as muchof the Hanna-Barbera output as
(31:53):
we can, the Hanna-Barbera outputas we can, and putting these
things back together is a hugetask and we had done this about,
I'm going to say, seven, eightyears ago for DVD.
We did it with Peter Potamusand that was kind of a dry run
(32:17):
for what was needed forMcGilligrilla and I'm delighted
with the way it's turned out andthe response that it's gotten.
Tim Millard (32:33):
And there will be more of this ilk coming soon.
Well, that's great news foranimation fans and a Barbera
fans, and you have beenpresenting quite a few of these
shows recently and, of course,we have another one coming here
in April Wacky Races and you'resaying there's going to be more
beyond.
So, wow, it's been a great timeto be an animation fan and
(32:55):
Hanna-Barbera fan, george.
George Feltenstein (32:58):
And all the other fans who like very
different things.
We try to have a nicesmorgasbord of choices so that
we're hitting various differentfan groups of different things.
And you know there are peopleout there that groan that there
isn't enough from the 30s or 40s.
(33:20):
And then when we put things outfor the 30s and 40s, people say
, well, there's not enough inthe 70s.
And where are the cartoons?
And we just in for our Mayreleases, which we just talked
about.
There isn't an animationrelease in there and some people
were thrilled about that andsome people were upset about
(33:44):
that.
So we're trying to makeeverybody happy, which is
impossible, but we're doing ourbest to get more of the library
from our vault to people's homeshelves.
Tim Millard (33:55):
Yeah, there's another film, of course, that
was released in March we'regoing to hold off talking about
for a little bit later and thatis Four Horsemen of the
Apocalypse.
You throw that in there, george, and I think you covered quite
a few decades in the month ofMarch.
George Feltenstein (34:12):
Absolutely.
And that's going to be very funto talk about.
I can't wait to hear yourthoughts on that.
Tim Millard (34:17):
Yes.
So while there might not besomething in March for everybody
, you sure covered a lot ofterritory and I think there's
something in March for mostpeople who are fans of the
Warner Archive and fans of allthe great work that you and the
team there at Warner Brothers do.
So well, this is a great month.
Looking forward to anothermonth here in April, as we get
(34:42):
those a little bit later, but,george, it's always a lot of fun
to go over these with you and Ihope the fans will support the
Warner Archive and all of thesegreat releases that you're
bringing to them.
George Feltenstein (34:54):
I share your sentiments emphatically.
Thanks, George.
Thank you so much, Tim.
Tim Millard (35:06):
I forgot to mention that Magilla Gorilla also has a
nice amount of extras, and Iwatch all of them and those are
on there and they look terrific.
If you'd like more informationabout any of the films that we
talked about today and MagillaGorilla, be sure and check out
our Facebook page and our WarnerArchive Facebook group.
(35:27):
We always have informationthere and people can talk about
the films and the TV shows andwhat they love about them as
well, and also post reviews andthings of that nature, so check
that out.
You'll find links in the shownotes here, as well as order
links for each of the films.
If you haven't yet subscribed,or if you're not following the
(35:50):
show at your favorite podcastprovider, I encourage you to do
so.
It helps the show and that wayyou'll get everything delivered
to you, because we have a lot ofexciting announcements and
reviews coming in the future.
Until next time, you've beenlistening to Tim Millard.
Stay slightly obsessed.
Popular Podcasts
On Purpose with Jay Shetty
I’m Jay Shetty host of On Purpose the worlds #1 Mental Health podcast and I’m so grateful you found us. I started this podcast 5 years ago to invite you into conversations and workshops that are designed to help make you happier, healthier and more healed. I believe that when you (yes you) feel seen, heard and understood you’re able to deal with relationship struggles, work challenges and life’s ups and downs with more ease and grace. I interview experts, celebrities, thought leaders and athletes so that we can grow our mindset, build better habits and uncover a side of them we’ve never seen before. New episodes every Monday and Friday. Your support means the world to me and I don’t take it for granted — click the follow button and leave a review to help us spread the love with On Purpose. I can’t wait for you to listen to your first or 500th episode!
Crime Junkie
Does hearing about a true crime case always leave you scouring the internet for the truth behind the story? Dive into your next mystery with Crime Junkie. Every Monday, join your host Ashley Flowers as she unravels all the details of infamous and underreported true crime cases with her best friend Brit Prawat. From cold cases to missing persons and heroes in our community who seek justice, Crime Junkie is your destination for theories and stories you won’t hear anywhere else. Whether you're a seasoned true crime enthusiast or new to the genre, you'll find yourself on the edge of your seat awaiting a new episode every Monday. If you can never get enough true crime... Congratulations, you’ve found your people. Follow to join a community of Crime Junkies! Crime Junkie is presented by audiochuck Media Company.
Ridiculous History
History is beautiful, brutal and, often, ridiculous. Join Ben Bowlin and Noel Brown as they dive into some of the weirdest stories from across the span of human civilization in Ridiculous History, a podcast by iHeartRadio.