The Next Reel Film Podcast

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Anna and the King of Siam • The Next Reel Aug 31, 2023

Show notes

“That king certainly hasn’t very good manners.”The Less-Singing, More Burnings VersionAudiences have been fascinated with the life of Anna Leonowens and her time spent in Thailand (then Siam) teaching English to King Mongkut’s wives and children. What’s the draw though? Perhaps the story of a woman on her own in a foreign country? Or a common person who is swept up into a world of royalty and has the ear of a king. Hard to say, but it’s a fascinating story, even if it does feel one-sided. Join us – Pete Wright and Andy Nelson – as we kick off our 1947 Academy Award Best Writing, Screenplay nominee series with a conversation about John Cromwell’s 1946 film Anna and the King of Siam.
Here’s a hint at what we talk about.The first hurdle with this film is the rough brownface that all the actors playing the people of Siam wear. Yes, it’s from the era – we acknowledge that. That doesn’t make it any easier to take. There are also all the other trappings that go along with this element – pidgin English, playing the characters as simpler people, etc. It’s frustrating.
Once you can get past that, there are still the story elements dealing with colonialism and the entire idea of a white woman (savior?) coming in to teach English to the children and wives of King Mongkut along with the British way so they can all act more civilized. It’s a struggle, but at the same time, teachers teach. She’s just doing her job, right?
Past all the struggles, there is the core of the story involving the complex relationship between Anna and King Mongkut. Irene Dunne and Rex Harrison are great in their roles, and we enjoy the back and forth that we get with them as they initially try to figure each other out and test each other, pushing boundaries, then eventually becoming trusted friends.
We discuss the other players, the story and how this iteration differs from other versions, how Cromwell directed it, the look of it, and more. There’s a lot to discuss with this one. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!
Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.

Watch this on Apple or Amazon, or find other places at JustWatch
Script Options
Flickers In Time’s review
Theatrical trailer
Poster artwork
Flickchart
Letterboxd

(00:00) - Welcome to The Next Reel • Anna and the King of Siam
(01:10) - Blackface and Problematic Depictions Then and Now
(05:41) - The Draw to This Story
(07:54) - White Savior vs. Personal Story
(10:03) - Doing Her Job
(12:12) - Anna vs. the King
(13:45) - The King's Struggle and Attitude
(15:23) - Rooted in Truth?
(16:52) - Lady Tiang and the Young Prince
(20:45) - Key Performances
(31:27) - Speaking Truth to Power
(33:17) - The Look
(36:05) - The Score
(37:02) - Why Has It Lasted So Long?
(39:17) - Credits
(40:09) - Other Adaptations
(43:18) - Awards
(45:16) - The Box Office
(45:49) - Last Thoughts
(47:02) - Coming Next Week • The Best Years of Our Lives
(48:02) - Letterboxd
(48:54) - Wrap Up

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The Reflecting Skin • A Conversation with Storyboard and Concept Artist Anson Jew • Movies We Like Aug 28, 2023

Show notes

“Any vampires around these parts, Pa?”Talking About The Reflecting Skin with our guest, storyboard and concept artist Anson JewThere’s a lot going on in this story of childhood. It’s a story about vampirism and nuclear devastation. It’s about a town’s secrets and the perspective of children. Homosexuality in a time when it was far from being accepted. Dealing with loss. Growing old. Finding love. Writer/director Philip Ridley not only crafted a gorgeous film that’s alive from start to finish, but he crafted a story about childhood that captures all the strangeness and complexity we should expect and want in a story about a kid making his way in the world.
Storyboard and concept artist Anson Jew joins us to talk about this film, which has stuck with him since he first saw it. It’s a fantastic film and one certainly worth discussing. We have a great time talking with Anson about it, so check it out then tune in.
Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!
Film SundriesLearn more about supporting The Next Reel’s Movies We Like through your own membership with The Next Reel.

Find Anson on Facebook, Instagram, Twitter, IMDb, and his website
Watch this on Apple or Amazon, or find other places at JustWatch
Transcript
Theatrical trailer
Poster artwork
Flickchart
Letterboxd

(00:00) - Welcome to Movies We Like • The Reflecting Skin
(02:37) - Meet Anson Jew
(18:54) - The Reflecting Skin

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Callsheet • Behind the Sites with Casey Liss Aug 25, 2023

Show notes

Welcome back to Behind the Sites, a long-overdue return to one of our favorite series here at The Next Reel. This series celebrates the technology behind the entertainment industry... specifically, the sites and apps we use to learn about the movies and shows of which we call ourselves fans.
Casey Liss is a podcaster, developer, and writer from Richmond, Virginia. However, these days, it might be hard to know in which order to put those things. He's one-third of the Accidental Tech Podcast, a must-listen for principled nerds, and half of Analog(ue) on Relay FM. But he's here today to talk about his latest app, Callsheet, an entertainment industry search experience that might just earn a prized spot on the home screen of your phone.
Along the way, Casey talks about the challenges that come with attempting to peel back the features of an existing monolith in order to create an app that is fast, yet still seemingly feature-complete. We talk about what goes into working on an app that is dependent on a third-party API in an era that has rendered API a dirty, profit-seeking word. Oh, and we talk about Plex. For members, we talk a lot about Plex.
Links & Notes

Callsheet
Callsheet on the App Store
The Movie Database
TheMovieDB API
Casey did a guest spot on Mac Power Users with David Sparks and Stephen Hackett and, if you're as intrigued by a complex Plex set-up as I am, check out this episode and let's get ripping! (ripping our legal media acquired legally because we don't want to insinuate in any way that we condone that other sort of rubbish. -ed)

(00:00) - Welcome to Behind the Sites • Introducing Casey Liss and Callsheet
(01:18) - Taking on Big-IMDB
(04:30) - Peeling back IMDB
(07:46) - The Spoiler Problem, Solved
(10:26) - The Action-Reward Equation and Data Sources
(15:18) - The API Connundrum
(17:32) - Discoverable... by accident
(22:53) - We live in a Letterboxd World
(26:44) - Embracing the Privilege of the Indie Developer
(30:51) - Soooo.... Android, but really the iPad app

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Wuthering Heights • The Next Reel Aug 24, 2023

Show notes

”No matter what I ever do or say, Heathcliff, this is me – now – standing on this hill with you. This is me, forever.”My, My, My... Those Heights, They Are A-Wuthering...Adapting Emily Brontë’s novel for the big screen isn’t an easy task, but it’s one that many people have taken on as “Wuthering Heights” has been adapted for the big or small screen over 30 times. And that doesn’t even take into account the operas, plays, musicals, radio adaptations, and more. As popular as the novel is, it’s a challenging one, and that’s certainly on display with William Wyler’s 1939 adaptation. It used less than half the chapters and hence modified many elements for the ending. Still, it works. In fact, we might even feel it works better than the novel. Join us – Pete Wright and Andy Nelson – as we wrap up our 1940 Academy Award Best Picture Nominee series with a conversation about Wyler’s 1939 film Wuthering Heights.
Here’s a hint at what we talk about.There’s a lot left out, but the book is a challenging read and we feel that this adaptation captures the essence of the tragic romance, leaving out a lot of the more complex elements that work well on the page but not so much on the big screen. It’s still not our favorite, but with director Wyler helming it, we find plenty to connect to.
The performers are all delivering big but portrayals that work well with this big romance. Laurence Olivier and Merle Oberon may not have gotten along on set but they work well as Heathcliff and Cathy. We also love David Niven and Geraldine Fitzgerald. In the scope of adaptation, the film leaves in some of the framing device that’s quite important for the novel. Here, we’re not so sure it’s needed. In fact, it largely feels like an unnecessary appendage.
The cinematography by Gregg Toland paired with Wyler’s effective direction bring life to the film. The black-and-white cinematography is full of darks and lights. It certainly deserved its Oscar win. And Alfred Newman’s beautiful score brings the tragic romance elements to the story right to the forefront. These elements all buoy the film for us, which otherwise may not be our cup of tea as much as some of the other Best Picture nominees. Speaking of, we do walk through the 10 nominees and debate which we’d pick to win. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!
Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.

Watch this on Apple or Amazon, or find other places at JustWatch
Transcript
Theatrical trailer
Poster artwork
Flickchart
Letterboxd

(00:00) - Welcome to The Next Reel • Wuthering Heights
(01:34) - Wuthering
(02:38) - The Book
(04:09) - Brontë Sisters
(05:00) - Initial Thoughts
(09:11) - Adapting It
(11:56) - Laurence Olivier as Heathcliff
(15:44) - Cathy and Isabella
(18:21) - Framing Device
(22:22) - William Wyler
(28:52) - Scripting
(32:45) - Who's Our Protagonist?
(33:51) - Merle Oberon
(35:11) - Geraldine Fitzgerald
(36:11) - Flora Robson
(36:48) - David Niven
(39:24) - Gregg Toland
(45:36) - Alfred Newman's Score
(47:15) - 1940 Academy Awards
(58:17) - Credits
(59:13) - Other Adaptations
(01:01:49) - Awards
(01:03:33) - The Box Office
(01:04:16) - Last Thoughts
(01:04:38) - Coming Next Week • Anna and the King of Siam
(01:07:38) - Letterboxd
(01:09:09) - Wrap Up

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Of Mice and Men • The Next Reel Aug 17, 2023

Show notes

“I remember about the rabbits, George.”Capturing Steinbeck and Americana on the Big ScreenHaving been writing novels for 10 years, it made sense that eventually, Hollywood would turn to John Steinbeck’s novels as a source for the silver screen. The first film to make the transition was Of Mice and Men, a novella he originally wrote as a ‘playable novel’ and then as a play itself. To that end, it was already the perfect size for adapting. And to that end, the film works just as well as the story. Join us – Pete Wright and Andy Nelson – as we continue our series on 1940 Academy Award Best Picture nominees with a conversation about Lewis Milestone’s 1939 film Of Mice and Men.
Here’s a hint at what we talk about.For a relatively simple story, a lot happens and the story works through a variety of topics. How does the story handle a character with an intellectual disability and what does it say about those who take care of others, whether it’s this character or an aging dog? What about race relations? (To that end, it may be less pointed than the book but the film still feels like it handles race better than Gone With The Wind does.) The script changes how Mae – the only female character in the book and the only one with any real presence in the film – fits into the story. Here, we get a sense of the tragedy of this character, which does a lot to paint the gender differences in this place at this time. There’s also the moralistic, religious, and humanistic angles we discuss.
The casting is fantastic. Burgess Meredith and Lon Chaney, Jr. play our two leads and deliver complex, compassionate performances that are the beating heart of this film. Betty Field plays Mae and rounds the character out with resonance and depth that never were on Steinbeck’s pages, even if possibly inferred. The rest of the cast fits impeccably into their roles. Lewis Milestone directs and handles the story effectively and efficiently. And having Aaron Copeland score the film only enhances its feel of Americana.
This film stands strong as a version of this film that’s worth remembering. It’s definitely one of the best films of the year and certainly worthy of its Best Picture nomination. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!
Film Sundries

Learn more about supporting The Next Reel Film Podcast through your own membership.
Find places to watch this at JustWatch
Transcript
Theatrical trailer
Poster artwork
Letterboxd

(00:00) - Welcome to The Next Reel • Of Mice and Men
(01:10) - 1940 Academy Award Best Picture Nominees Series Continued
(02:15) - Revisiting the Novella
(03:51) - Deceptively Small Story
(05:09) - Initial Thoughts, Play, and Expanding Story
(09:02) - Big Issues
(12:48) - Caretaking
(18:32) - More on the Dog
(22:21) - Comparison to Lenny
(23:34) - Good Deed?
(24:20) - Parallel Issues
(25:18) - Lenny as Sympathetic Character
(26:21) - Race
(32:29) - Gender Issues and Mae
(35:30) - Kindness to Mae?
(38:45) - Lewis Milestone
(41:54) - Cast
(47:55) - Title Origins
(49:29) - Credits
(50:25) - Other Versions
(51:54) - Awards
(55:24) - The Box Office
(56:28) - Last Thoughts
(56:52) - Coming Next Week • Wuthering Heights
(58:18) - Letterboxd
(01:00:23) - Wrap Up

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Love Affair • The Next Reel Aug 10, 2023

Show notes

“We’re heading into rough seas, Michel.”A Love Story That Stands the Test of Time
It’s interesting that Leo McCarey’s 1939 film Love Affair largely fell into obscurity due to both slipping into the public domain and to McCarey’s own remake in 1957 as An Affair to Remember. It largely was thanks to Nora Ephron including mention of both films in her 1993 classic Sleepless in Seattle that interest in this original rose again. Now, thanks to a stunning restoration in 2020, the film looks brand new and is certainly worth discovery, or re-discovery. Join us – Pete Wright and Andy Nelson – as we continue our series on the 1940 Academy Awards • Best Picture nominees with a conversation about McCarey’s 1939 film Love Affair.
Here’s a hint at what we talk about.
We both were more familiar with the story from McCarey’s 1957 remake An Affair to Remember starring Cary Grant and Deborah Kerr, but the core of the story remains largely unchanged. That even holds true in Warren Beatty’s mess of a remake in 1994 (also called Love Affair), which says something about the strength in the story. We have a few issues with the story, however – the need to wait six months before seeing each other again to prove they’re able to survive on their own seems a bit plotted, and Terry’s desire to not tell Michel about her accident until she’s able to walk to him seems thin. But are they? There’s clearly meaning behind their motivations in both cases. Is it just that we actually want it spelled out more, which we rarely actually want? Or is it that we don’t quite feel they sell it? It’s hard to gauge, so in the end these points don’t break things for us. They just give us pause. It’s hard to get past that ending though. It’s perfect and just rips your heart out before putting it right back. Amazing stuff. There’s a reason it’s become iconic. And how great are Irene Dunne and Charles Boyer? We discuss them a bit in relation to Grant and Kerr. Who works better for us? Leo McCarey was stepping away from his comedies. How does he do with this material? We also talk about the controversies with the script and why the production code wouldn’t pass it initially. And let’s not forget the songs!It’s a great film and easily one to fall in love with. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film Sundries
Learn more about supporting The Next Reel Film Podcast through your own membership.

Watch this on Amazon, or find other places at JustWatch
Script Options
Theatrical trailer
Poster artwork
Flickchart
Letterboxd

(00:00) - Welcome to The Next Reel • Love Affair
(01:07) - WC Fields In-Joke
(01:51) - Initial Thoughts
(04:19) - Getting Swept Up?
(06:40) - Story Issues
(14:50) - Comparisons to Remakes
(19:35) - Charles Boyer
(23:06) - Maria Ouspenskaya
(26:04) - Irene Dunne
(29:10) - Comedy Beats – Romantic Comedy?
(30:46) - Leo McCarey
(33:53) - Story Origins
(35:34) - Boyer and Dunne
(36:29) - Initial Rejection
(38:54) - Credits
(39:50) - Remakes, Etc.
(42:21) - Awards
(43:05) - The Music
(43:53) - The Box Office
(44:58) - Last Thoughts
(45:46) - Coming Next Week • Of Mice and Men
(47:48) - Letterboxd
(50:05) - Wrap Up

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Dark Victory • The Next Reel Aug 03, 2023

Show notes

“When you get inside my head, see if you can find any sense in it.”Bette Davis Dealing with and Dying From GliomaThere’s a strength in storytelling that can exist in disease films because we’re following a person as they’re going through a very difficult period in their life that could very well end in death. That’s one of the elements that drew Bette Davis to the play “Dark Victory,” of which she had a hard time convincing Jack Warner that audiences would love it. He was wrong and she proved correctly, however, that a tragic story with your protagonist dying from the disease could draw in the audience. It clearly worked in this case as it lead to several Academy Award nominations including Best Picture. Join us – Pete Wright and Andy Nelson – as we kick off our 13th season of the podcast with a full year looking at various awards categories through the decades, starting right here in our series on the 1940 Academy Awards • Best Picture as we discuss Edmund Goulding’s 1939 film Dark Victory.
Here’s a hint at what we talk about.At the heart of this film, it’s really Bette Davis and she fully delivers. She’s very much playing the headstrong socialite we’d see often in her films, though the difference here is right out of the gate, she’s diagnosed with glioma, a form of brain tumor. Through her performance, we see her go through many of the stages of grief as she first fights against the fact that she’s sick and finally comes to terms and accepts it. It’s quite a ride, and it works because of Davis.
She couldn’t get there without the script, however, and its structure allows this film to be about her battling the disease, not as a side element in the story. From the start, she’s suffering from her glioma. It plays in unexpected ways, and lets us take the journey with her. Of course the journey wouldn’t be complete without the rest of the players, and they deliver. Geraldine Fitzgerald, George Brent, Ronald Reagan. Only Humphrey Bogart seems out of place here.
It’s a strong entry into the big studio year of 1939 that saw a lot of successful films of all genres stand out, and this one deservedly was nominated for Best Picture. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!
Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!
Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.

Watch this on Apple or Amazon, or find other places at JustWatch
Transcript
Original Material
Theatrical trailer
Poster artwork
Flickchart
Letterboxd

(00:00) - Welcome to The Next Reel • Dark Victory
(01:32) - 1940 Academy Awards • Best Picture Nominees
(03:00) - Initial Thoughts
(04:10) - Bette Davis
(09:35) - Judy and Dr. Steele
(11:52) - Figuring Out the Disease
(14:56) - Obligation to Inform... or Not
(19:03) - Developing Relationships
(20:51) - Structure
(24:36) - Her Final Moments and the Decision
(32:54) - Geraldine Fitzgerald as Anne
(36:20) - Judy's Socialite World
(38:00) - Horses and Bogey
(41:06) - Ronald Reagan
(42:30) - The Production
(44:53) - Edmund Goulding
(48:04) - Credits
(48:59) - Remakes
(50:41) - Awards
(52:04) - The Box Office
(53:10) - Last Thoughts
(53:33) - Coming Next Week • Love Affair
(54:29) - Letterboxd
(55:25) - Wrap Up

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The Thin Red Line • A Conversation with Cinematographer Ross Riege • Movies We Like Jul 31, 2023

Show notes

See the list for our entire lineup for SEASON 13 on our Letterboxd page!
“We're living in a world that's blowing itself to hell as fast as everybody can arrange it.”Talking About Terrence Malick’s 1998 film The Thin Red Line with our guest, cinematographer Ross RiegeWhile Terrence Malick’s war film came out five months after Steven Spielberg’s Saving Private Ryan, it couldn’t be more different. They’re both exceptional films, but Malick’s takes a more pensive, thoughtful, esoteric approach with his. At its basest level, the story follows a military unit on the Melanesian island of Guadalcanal as they work to take it from Japanese troops. While that story’s there, in Malick’s hands, the film is more about the balance between man and nature and how the war machine destroys men’s souls.
Not only is the way Malick crafts the story haunting, it’s also done in a way that fits perfectly with his themes and views. Cinematographer Ross Riege is a big fan, having first seen this and a number of other Malick films when prepping Redland, an early film he worked on, as well as his big break as cinematographer for The Kings of Summer. It’s fitting then that that film’s look was described as feeling Malickian.
We talk more with Riege about his career, starting with smaller films and moving up to films like Weird: The Al Yankovic Story and the TV series The Afterparty. We also get some impressions from him on the switch from film to digital, working with his crews, and more. It’s a fantastic conversation about a great movie with a great cinematographer.
Film Sundries

Learn more about supporting The Next Reel’s Movies We Like through your own membership with The Next Reel.
Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!
Ross on the web and on Instagram
Watch this on Apple or Amazon, or find other places at JustWatch
Script Options
Theatrical trailer
Poster artwork
Flickchart
Letterboxd

(00:00) - Welcome to Movies We Like • The Thin Red Line
(01:10) - Meet Cinematographer Ross Riege
(06:38) - Digital vs. Film
(08:02) - Each Project's Look
(10:00) - Reputation with His Keys
(11:16) - Terrence Malick's The Thin Red Line
(13:07) - Malick Voiceover
(17:08) - Trusting Audience or Artistic Confidence
(19:53) - Maintaining Artistic Integrity in a World of Commerce
(22:51) - Capturing Pristine Nature Again and Again
(25:36) - Overall Thoughts of the Movie
(28:04) - John Toll and This Film's Look
(32:25) - Property and the Soul
(35:01) - Recognizing You're Capturing Greatness
(37:13) - Actors and Their Director
(40:48) - Malick's Vision
(42:20) - Stepping Away
(44:34) - The Post-Color Process
(48:10) - Performances
(50:26) - Documentary Feel
(50:58) - Great Contemporary War Films
(54:51) - Capturing the Malick Look
(01:01:14) - Awards
(01:03:02) - Box Office
(01:03:40) - Wrapping Up

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The Wizard of Oz • Rebroadcast • The Next Reel Jul 27, 2023

Show notes

"Toto, I’ve a feeling we’re not in Kansas anymore!"REBROADCASTStill a ClassicVictor Fleming didn’t just direct two movies in 1939, he directed two of what many consider to be the greatest films made – Gone With the Wind and The Wizard of Oz. Where the former, though, has more problems to contend with in today’s society, what with its depiction of slavery and race in the South during the Civil War, the latter is nothing but pure cinematic joy. Seen by more people than any other movie, The Wizard of Oz has become infused in who we are. Quotes from the movie can pop up in everyday conversation without people even realizing they’re quoting it. The songs – particularly “Over the Rainbow” – have been burned into our brains at an early age. It truly is a shining example of what cinema can be. Join us – Pete Wright and Andy Nelson – as we continue our ‘films of 1939’ series with one of the great cinema achievements, Flemings’ The Wizard of Oz.
Here’s a Look Into Our ConversationWe talk about what makes this film so great and why it’s lasted so long, looking at everything from the story to the music to Judy Garland as Dorothy Gale. We discuss Fleming as the main director putting the film together, the 14 writers tasked with bringing this script to life, and L. Frank Baum, the author of the original Oz stories. We chat about the actors – Garland, Ray Bolger, Jack Haley, Bert Lahr, Frank Morgan, Margaret Hamilton, Jerry Maren, the Singer Midgets and more (not to mention Terry the dog as Toto) – and look at what they all bring to the table here.
We chat about Buddy Gillespie’s special effects, Adrian’s costumes, Harold Rosson’s cinematography, Herbert Stothart’s music adaptation, Harold Arlen’s & Yip Harberg’s songs and Mervyn LeRoy’s & Arthur Freed’s producing, tying together all the elements they each were responsible for. And we comment on the popularity of the film, chat about it being a gay icon, and look at how it started at a loss but ended up making bank over the decades.
It’s one of the greats and certainly one we have a lot of passion about discussing. Check it out!
Film Sundries

(00:00) - 1940 Academy Awards • Best Picture Intro
(01:11) - Welcome to The Next Reel • The Wizard of Oz
(01:40:43) - Wrap Up

This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5640170/advertisement

Stagecoach • Rebroadcast • The Next Reel Jul 20, 2023

Show notes

"We’re the victims of a foul disease called social prejudice, my child."REBROADCASTFord Delivers A Classic WesternWhen John Ford decided to helm Stagecoach in 1939, he hadn’t done a western since his days in the silent film era. Yet it was this film, along with his relationship with John Wayne, that would lead to him making arguably some of the greatest westerns in cinema. Yet with this film, it was really more of a chance to make a western that could be a bit more serious, not just another b-level shoot-em-up, while still making a movie that was pretty light and entertaining. Join us – Pete Wright and Andy Nelson – as we continue our series on films from 1939 with Ford’s Stagecoach.
Here’s a Hint at Our ConversationWe talk about John Ford as a director and what he was trying to do with this film, pointing out some Ford-isms along with debating his strength as a filmmaker. We chat about Dudley Nichols’ script adapted from Ernest Haycox’s short story, enjoying what he did with the nine principal characters in the film, even if there were some pacing issues throughout. We discuss the cinematography of Bert Glennon and the way he and Ford shot the action sequences. We chat about stuntman and stunt coordinator Yakima Canutt, marveling at the amazing stunts he performs in the film while also feeling pretty horrified at the methods he devised to get the horses to fall on camera. And we touch on the cast, touching on what each of them bring to their roles.
It’s a fun film, even if not one of our favorites, but still gives us a great movie to talk about. So check it out then tune in!
Film Sundries

(00:00) - 1940 Academy Awards • Best Picture Intro
(01:11) - Welcome to The Next Reel • Stagecoach
(01:13:15) - Wrap Up

This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5640170/advertisement

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