Episode 132 - Hamilton

[00:00:00] Welcome back to Movie Mistrial, the podcast where we put the IMDb Top to 50 on trial, one cultural phenomenon at a time. I'm Johannes. And I'm Raji. Today we're stepping into the room where it happens with Hamilton, Lin-Manuel Miranda's genre-defined musical that reimagines the story of Alexander Hamilton through hip-hop, R&B and Broadway spectacle.

[00:00:22] Blending history with modern storytelling, Hamilton follows the rise and fall of one of America's founding figures, exploring ambition, legacy and the cost of never being satisfied. But here's a question. Is Hamilton a groundbreaking masterpiece that redefines musical storytelling? Or one of a hyped cultural moment that prioritizes style over substance? With revolution, legacy, rapid-fire lyrics and the American experiment on trial today, Hamilton is on trial.

[00:00:52] Do you swear to tell the truth, the whole truth and nothing but the truth, so help you God? Ooooooh. What time is it? Showtime. Break a leg. Break a leg.

[00:01:23] Alright, let's uh, let's uh, flip a coin. What's it gonna be? Uh, it's gonna be heads for me. It's tails today. Ah, we're gonna do the easy thing or the hard thing for this? Um, I wanna do the easy thing today. I'll speak for it. Oh wait, you think, you think speaking for it is the easy thing?

[00:01:49] Oh, I'm willingly and happily proud to speak against this movie. Um. And the witness will address this quote as judge or your arm. Ladies and gentlemen, we have a problem. We have a problem. Let's first talk about the context where Hamilton was released. This was during the pandemic, right? Um, everybody was stuck at home. Oh, the film was. Yes.

[00:02:18] The film. Yes. The film was released during the pandemic. Everybody was stuck at home. Disney plus was just launching and they needed viewership. So they said this experiment, we're gonna put a Broadway show on television and have people watch. Um, and what are the, what are the benefits of going to watch a Broadway show?

[00:02:38] We get to see the stagecraft. We get immersed in the whole arena and we get to see actors portray characters in over the top ways. What does this play actually do on screen? We're stuck in a 2D frame. We want to see more of the stage where things are happening, but we don't have the ability to.

[00:03:06] Um, and we get to experience things from a constricted perspective where the director is the one that dictates what should be interesting to you. Um, I've been privileged enough to see, um, a play on stage and I've watched this Alexander Hamilton movie. This is the second time I've seen it to be fair. And I remember the first time I watched it. I, I thought I liked it. It was very good.

[00:03:32] Um, good enough to be in the IMDB top 250, definitely not. And I really feel strongly that this movie was formatted in such a way that they wanted to give you the Broadway experience while sitting on your couch, but you never get that full experience.

[00:03:55] You never get the Broadway experience. What you get is an, is a half-assed film that feels extremely constricted, um, where you don't appreciate all of the stagecraft that is happening. You feel like the narrow, you feel like it's narrow and, um, claustrophobic because nothing actually is changing.

[00:04:19] You're watching things move on scene. You're watching things change on stage, but the scene, the camera is usually, um, focused on the middle. Um, and they try to compensate with different lights, camera movements, the stage moving, all of that does, uh, a half-assed job of it.

[00:04:43] Um, because what would have been better was if you had a cinematic experience of Hamilton, where you had a full setup, where somebody filmed it as a movie, and you had the magic of movies telling you the story as opposed to the theater.

[00:05:04] Um, and honestly, theater and movies tell different tales. Um, the last movie, one of the, two movies ago, we talked about the judgment at Nuremberg. And one of the arguments I made about that was that it felt like we were in a theater. But one of the joy, one of the interesting parts of it is we also get to experience Germany.

[00:05:26] We see him walking around, walking to, um, the stadium at Nuremberg, hearing, um, the scripts and speeches, watching things blow. We still get to experience a, a feeling that we are not just constricted to the, uh, the stage of the theater. Um, and I felt like this movie, this movie, uh, does a bad job of it. So that's where I start.

[00:05:55] All right. All right. All right. Um, Hamilton is a phenomenon. I think the, the thing that they did with this, uh, pro shot, as we in the theater community, uh, refer to, um, is something very smart. Because, um, if, if we think again about when this came out, as Raji said, I think around the pandemic, uh, beforehand,

[00:06:23] uh, when Hamilton was released on Broadway, um, it was kind of a sleeper hit. It was, uh, in, um, they, they did off Broadway trial outs to kind of see how things work. Um, got super popular and has been playing on Broadway ever since has done multiple tours around the world, uh, multiple productions. Um, even a German production that is not very good.

[00:06:50] Um, but, um, Hamilton has, was super successful as a show. And it was hard to get tickets. I remember, um, looking every day for tickets to San Francisco when it came out. So, uh, this film, what they do with this film is make a Broadway show, uh, approachable to anybody with a subscription. Um, which is great to begin with.

[00:07:17] I think, uh, we need to have more access to, to the arts. Uh, on top of that, they also give us the entire original Broadway cast with this and not the current cast that was playing when they were filming. Uh, they got the complete original cast back for two or three performances that they filmed. And now that is forever, uh, preserved.

[00:07:41] And, and we can witness the originals at, at the thing that they created that made it a massive hit. So that alone is fantastic. It's, uh, also allows us to see some of the action from perspectives that we as a theater viewer are not privy to usually. And that is, um, from the wings, from the back of the stage, uh, from above.

[00:08:07] Uh, there's some vantage points that, that are not available to us as an audience in a theater that make this a very interesting experience. Um, now I think as a, um, theater first experience, um, it's always a shifted medium, right?

[00:08:28] So, um, you have to somewhat shift focus to, or, or lead the focus of the audience on that's watching this on TV to the key things that you want them to see. Because, uh, just filming the stage in one white shot is, uh, probably not going to cut it because you missed the nuances. Uh, what, what this performance though allows you is to show some of these performances and nuances that, and choices that the actors make.

[00:08:58] And I think just having that preserved as a time capsule is fantastic. Um, Hamilton also is a show that is not that much of a spectacle stagecraft wise. Um, it's not a wicked where there's a huge production and gigantic sets. The set is pretty much the set. The only big thing they play with is lights to kind of generate spaces and rooms. And we see some of that.

[00:09:26] And then we have the turntables, uh, on the stage for some movement. We also see how that is used pretty effectively. So with all that said, I think it is great that we have this as a, um, as a historical document of what Hamilton was, uh, preserved with the original cast. I think that's great. Um, the performances are great. And, um, it's good to have a very clean version of the show for everybody to see.

[00:09:59] So I think that in a sense, one of the things that I'm hiding against is not the existence of this as a time capsule. You brought up the idea that this was an opportunity for some of the original cast to appear on stage together. You talked about, you know, some of the experiences, how they use the stage to capture the mood.

[00:10:29] Um, and you also mentioned like this is a time capsule that people can, you know, relate to in the future. I have no qualms with any of that argument. Accessibility of Hamilton for most people, no qualms with that. My qualm is why is this movie in the IMDb top 250 movies of all time? That is the problem I have.

[00:10:56] I don't think this movie deserves, given all the, all the movies we've seen, all the movies we're going to watch for the rest of, uh, of the, the rest of the 250 films.

[00:11:10] Um, I don't feel like this movie deserves the spot because it is ultimately just a pseudo representation of what you can experience in Broadway, um, on the stage, on a real stage. What you lose from that experience is the immersion. You lose the ability to be on stage. You lose control on what you want to focus on.

[00:11:40] You're stuck with what the director feels is more important to you. And as a result, you don't, you get this 2D representation of what you can experience in real time at the theater.

[00:11:55] Um, and I feel like the compromises we gain, um, the compromises we lose, or should I say the compromises that we experience are too much for me to appreciate this as a film. Um, so highly rated in the IMDB top 250.

[00:12:19] Um, and without even going, dealing with the content of it, I feel like the idea of, um, Hamilton as a stage play captured for posterity is great. But as a, as a, as a, as a mention in the IMDB 250, I feel like it's not great.

[00:12:44] I don't, I didn't appreciate, I was slightly irritated watching this because I wanted to see what I wanted to see. And I was stuck watching what the director wanted me. And I think that was my biggest qualm of this. Um, it felt small. It felt very small. It didn't feel cinematic.

[00:13:07] Um, and I felt like I couldn't appreciate everything the director wanted to show me because sometimes I wanted to see other things than what was being shown on stage. Um, that's my, that's my strongest qualm with this. Hmm.

[00:13:28] I think if we just look at, again, kind of Hamilton as, um, a work of art that has, pun intended, I guess, kind of revolutionized Broadway in some form. Um, or at least made Broadway hip again for a massive amount of people.

[00:13:50] Um, but also showed kind of the problems of, uh, resources that are, that are limited, uh, which is seats. Um, and then location based, like they did, they had multiple tours going around the country and the world to make it as accessible as possible. They still have a ticket lotto lottery that, that is, uh, $10 per ticket, um, or $20 a Hamilton, um, per ticket.

[00:14:18] Uh, so, you know, to make it accessible and all that. But I think the ultimate accessibility is, is the film format with some trade-offs. Um, I think one of your other arguments was, uh, they should have turned that into a proper movie version. And I think, uh, the reason why that doesn't work is, uh, case in point is the Dear Evan Hansen movie that is just awful. Um, it, it just doesn't work. Movie musicals, um, are always a little clunky.

[00:14:48] So I think it, it, it makes more sense to film the stage production and then, uh, take it for what it is. Um, I think why Hamilton and this performance is, uh, on the IMDb is because it is so culturally significant. Um, and it, it kind of brought back more interest into Broadway. It was so against everything, uh, that, that Broadway stood for in, in many ways.

[00:15:16] It is so sharply written and fast. It's so cleverly done that, um, it's, it's truly, uh, one of a kind in a, in a way. And, um, if, if you think about the other show that Lin-Manuel Miranda did in the Heights, um, there are some, some things here and there that are similar,

[00:15:42] but I think the scope of Hamilton is so vastly different and the, the intricacies of it are so well done. And, um, so detailed that even now that I've seen this thing, there's little things that I still notice that are new to me as somebody who has been very familiar with the show. Um, that, that amazed me.

[00:16:08] And, um, for that alone, it is so valid to have a recording and it's so valid to have this show, um, there. And I think it makes perfect sense because it is also, uh, it, the show was created in a politically kind of significant time. And where a lot of these ideas of founding a country and, and, and kind of defining the rules and, and, and, and fighting for freedom and all that are relevant again.

[00:16:36] So I think it makes perfect sense that this, uh, topic and the, the show is on the IMDb because it is at the end of the day, a, uh, work of art that is still relevant to this day, because we still have these conversations around, uh, the constitution and all that. Um, so I, I think it truly deserves to be on this list, uh, not only because it is preserving the show in a good way,

[00:17:06] but it's also making it accessible to everybody, um, to at least witness some form of the show, a production of the show. And, uh, maybe have a conversation around the founding fathers and all that kind of stuff. So, yeah, I think it's great. It's great to have this as, uh, as a document, um, for the show, because we don't have this.

[00:17:30] If, if we, if we, you know, if I think about other shows that were culturally significant, um, you know, the big, the big shows come to mind like Les Mis. And Les Mis does not have a, uh, professional, um, video of the original staging anymore. Uh, which is such a shame because the new staging is vastly different and, in my opinion, not as good.

[00:18:00] So we don't have that document anymore. I don't necessarily care about the cast. I, I just, you know, care about the, the initial conception of it all. Same with Phantom of the Opera. Sets have changed. Things gotten, you know, have gotten cheaper and all that kind of stuff. So it's, it's good to have, um, a document of how the show was conceived with the people that, that helped bring it to, to life and bring these characters to life.

[00:18:25] And for that alone, I think it's, it's very relevant, uh, to have this and have this on the IMDb. So I don't disagree with having it as a document, but I mean, you mentioned that, you know, we have, um, musicals that are clunky. Um, when we make them into movies, but we've seen Singing in the Rain. Singing in the Rain was not clunky. Singing in the Rain was amazing.

[00:18:54] And it was a musical that I've watched multiple times. We have, um, you know, you talked about Les Miserables, uh, which was, you know, kind of sung poorly. We have Chicago, my favorite, uh, musical, The Producers. We have musicals that tell amazing stories on screen that give you a big world stage that sets the scene very well for you.

[00:19:23] And you actually get to appreciate what the, the, the theater is trying to do with a grand, with a grand picture. What about My Fair Lady? Another amazing musical. Um, The Sound of Music. There are multiple, The Sound of Music. I rewatched that recently. Such a good film.

[00:19:46] You know, um, with memorable songs, songs that take you through the, the Rhin or the rivers or wherever that, that river was actually, you actually didn't know where it is. Uh, I think the movie was shot in Austria, so it's probably not the right. Um, but it took you to the rivers. You went through castles, um, up the mountains. You get to experience the grandiosity of what filmmaking can, um, can give you.

[00:20:15] And I think this movie has us trapped in a stage. And, you know, throughout this, you know, review, I haven't actually talked about the content. The content, I thought, was exceptional. The, the setting and its location is what kills it for me. Um, I want to go watch this movie, uh, in San, in San Francisco. I want to go watch it in New York. I want to go watch it in London. I want to go into the stage.

[00:20:43] I want to sit down in the crowd, cheer, um, laugh, um, feel sad in the theater. Um, and appreciate all of what this movie can, or what this theater production can give us within the, the, the stage that it was ideally created for. As a movie, I feel trapped. I feel like I am not getting the full picture. I want to look up at the screen.

[00:21:12] I want to, I want to, um, try to figure out what's going up up there. Can't see it anymore. Um, I have to be dealing with the whole play from the myopic perspective of what the director gives me. If I don't have good sound systems, I don't get to experience this in the greatest, um, the greatest way. The sound is uneven sometimes when the actors are singing. I don't get to see all of the experiences.

[00:21:38] Sometimes I want to, there was a scene where, um, Bo was singing, um, the room where it happened. Where, you know, the, the, the director was caught into his face. Close-ups. And then bring, going, um, on a wide shot. And sometimes I didn't want the wide shot to happen. I wanted to, I wanted to stay with the character. Sometimes I didn't want to stay with the character. I wanted to see what was going on on the wide shot. I have no control on any of that.

[00:22:06] All I have was the perspective of the director, what he wants to give me. And I think that while this is good as a document of, of the play as it is with, you know, all the points you mentioned, the original cast, the folks, the people. I don't think that this works as a movie that deserves to be number 132 on the IMDb top 250.

[00:22:34] I don't think that this deserves its position there. I think as a document, great. But top movie, IMDb top 200. And I, this movie, I mean, we've, we've gone through some films, right? We've seen many Italian films where I'm like, oh no.

[00:22:52] Now, this was the first one where I was like, this IMDb top 250 is messed up because there is no way this movie should be this high. It's not one of those old films that everybody like loved at the time. So it was like, all right, let's chuck it up to the times. This is a new film that came out in 2021, I think.

[00:23:17] And it gets pushed up this list to number 132, depending on the day you check it. And I don't feel like it deserves it. And I feel like this was contextual to the period we're in. And outside of that period, this movie would never have been on this list. And I don't think it deserves it, honestly. Including those Italian films.

[00:23:41] I don't think those Italian films, like the, the, the, the, the one with the dad, the bicycle thief. Oh God. Um, don't, don't get me started. Uh, and what was the other one? The one about being happy. It was caught in the concentration camp. Life is beautiful. Yeah. Yeah. Life is beautiful. Yeah. I, I don't think that movie deserves to be. Anyway, that's my rant. Yeah.

[00:24:11] Um, I, I do, I do have to say, I think it's somewhat unfair to, uh, compare this to films like the sound of music or other movie musicals because the movie musicals were conceived as a movie first and not as a stage show. So, um, my, my standpoint is if you have a show like Dear Evan Hansen that has a very clear,

[00:24:34] uh, design aesthetic in the theater and, um, has, uh, very interesting problems that they, um, have to solve because it's in the theater and, and, uh, there's limitations to that inherently. And then they get a lot of money and produce a film version of that. Um, the risk is that it gets lost, um, in the scale of it all in, in a way.

[00:25:01] Now, the Dear Evan Hansen film got lost with casting to begin with. I think, uh, that was just a poor choice, but, uh, uh, it was also flawed by so many other things because, uh, with, with things on stage, you can get away with a lot of, um, kind of suspension of disbelief and just kind of weird cuts that you don't necessarily can in other, like in, in film.

[00:25:25] And that's why I think having created a film version of Hamilton, uh, would probably not flow as well as the stage version version does, because like I said, it's so intricately, uh, crafted and so fast that it's just, it's just, you know, you strap in and three hours later you, you left, um, having learned a little bit about the funding of this country.

[00:25:53] Um, very helpful for your citizen test, by the way, and, um, have been thoroughly entertained by great songs. So I, I, I think it's somewhat unfair to, to bring this on of music and the likes, um, of the big movie musicals of the, of the fifties and sixties and whatnot, um, to compare this to this, uh, because it's ultimately, it's, it's, it's a different media. It's a different, um, conception of a film.

[00:26:20] It's just a filmed performance of Hamilton and not, um, a show that was designed for film and then retroactively put, uh, onto stage. Same with the producers. I saw the original film. There was not a musical and then turned it to a musical and then turned it to a musical film. Right. And those are all very, very different, different, uh, iterations of the producers. Right. So, uh, I still think it's relevant to have the show here and then, uh, I'll let you speak,

[00:26:49] but, uh, that that's about a bit happy to go to the sidebar once again. Uh, you're right on the producers being a movie first and then, um, Broadway musical and then, um, um, musical, uh, musical film. I still, I still love every iteration of that. Uh, but The Sound of Music was originally a Broadway play that eventually became a theater, uh, a movie.

[00:27:15] So kind of like Hamilton, The Sound of Music was a, was a Broadway show that played for six, for nine years, six years before the movie came out. Um, and then, uh, and then it became a movie that took away some of the songs that existed in the Broadway and replaced them, uh, with some songs on, uh, on the specific films.

[00:27:44] So I agree with you on the producers. I disagree with you on The Sound of Music. Um, but I, I, I think that this movie. What did we do about AnCeist? Suffered as a result of, of it being so, so, so small. But I'm happy to go into the, um, into the ovat. Sidebar. Guilty. Speculation. Here's to say. Baeliff. Briefcase. Disregard. In my chamber. Stop beaver on the witness. Auress. We could totally be lawyers.

[00:28:13] So, so this is interesting. Um, have you seen the, the stage show, Hamilton? I feel like we talked about this before, but. I haven't seen the stage play. Okay. Okay. Uh, Freunde. um i have seen hamilton like 15 times maybe 15 times um so i i was high on the on the

[00:28:37] hamilton sauce for for a while um and i love the show like i said i i still recognize things that are new uh to me which which is you know just fascinating um and uh it just shows how brilliantly crafted this thing is my uh counter argument for this would have been somewhat similar to what you were saying that it is uh kind of limiting

[00:29:06] it's it's focusing you to focus on very specific things which inherently in a stage show is is you know that's kind of fun and not looking at the center of the action but also see what all the other people on the sidelines do there are moments in the show that i love when i see the stage production that were not visible here which is unfortunate um the other thing that i also would

[00:29:30] have said is that uh of the times that i've seen the show um i want to say i have seen performers doing all these different roles better than the original broadway cast and um that is all subjective

[00:29:53] um but i know that in a lot of theater communities there's this idea that the original cast is always the best and i strongly disagree with this um for for example idina menzel as alphaba i find her hard to listen to um and i've seen many many different people sing the alphaba stuff

[00:30:21] way better than her than she does um and same goes with hamilton i i saw l'emmanuel miranda do the show and i found them more distracting than anything uh i've seen other people do hamilton and they were fantastic because you you you're not distracted by oh it's this person so um while it is cool to have

[00:30:45] the original cast come back and and see them do it i also know other people that i've seen in person that moved me more and it's unfortunate we don't get that but i also think that um what you were saying is like that that that feeling when you're in a theater and you're just invested and you follow whatever performers doing what they're doing and you feel for them it's very hard to replicate that on

[00:31:13] film uh and um especially when when it is a cast that is put on a pedestal like the original broadway cast of hamilton so you know it's um it's still cool that we have this but it's not replacing going to a theater and see the show in person for me yeah i i haven't experienced hamilton in the theater

[00:31:39] and i don't have the same frame of reference my wife has though and she kept telling me how l'emmanuel miranda was definitely horrible as hamilton he can he doesn't he doesn't have a lot of stage presence is not a very it's not very convincing uh in the role but i can't use that as my main argument because i don't have the same frame of reference as she does i

[00:32:07] i'm seeing hamilton twice from this perspective but i've also seen multiple plays uh in the theater including the phantom of the opera um and the producers of course i've seen the producers in theater because i love that so much um and i can tell you without a doubt that i understand the appeal of theater and the appreciation you get when you are in that mesmerized by what is going on on stage

[00:32:36] and you get a full screen a full view of what is you know things that probably is happening on stage but you don't you're not you're distracted by what's going on by how some people are moving how some things are happening the stagecraft the the the those those feelings that happen within the theater and you're going wow that's how they do it it's incredible you don't get any of that in this

[00:33:02] so yes you're watching this you know performance and to be honest with you i think the music is great the way the way i can't even criticize the um the the story and content because i feel like it would be a disservice because when you think about it this movie is all about it this play is all about exposition

[00:33:26] the first half the first act moves too fast they want to establish him as a as a character as an immigrant who gained um who fought and got made a name for himself in america uh and in the second act which is a better act structurally was his downfall and the first was so fast everything was so dense

[00:33:51] and they were telling it true music i can't even criticize that because it's a totally different medium um that is trying to tell and in theater you have to go through that um as a movie it doesn't quite work but if you're watching this in the theater this is amazing the music is great everything is good i don't have a problem with that i don't have the same frame of rest i haven't seen it in

[00:34:15] the theater so i can't say if lee manuel is the worst or the best uh but i've heard a lot of sentiment about his role in this film um and yeah i stand by my i stand by my i stand by my take and honestly that was the only issue i had with this i don't think it should be in the imdb top 250 i think a

[00:34:36] movie a theater recording should be never be in the imdb top 250 because it's a documentation of a totally different medium um and i feel like there are other musicals that did musicals better as film um and singing in the rain is an amazing example even the sound of music too maybe not the producers

[00:35:02] but i love them i love the producers producers is amazing well and the thing singing in the rain and sound of music were well sound of music i don't think but uh singing in the rain i think we talked about before right so yeah singing in the rain we've talked about right yeah um number 89 um i i i i i feel like i want to agree with you it it's also kind of the the same idea of filming a

[00:35:29] live concert of a band you like um where it's like sure you kind of get a vibe of what it's like to see them live but it's not the same as actually seeing them live and the same goes for this it's it's nice to be able to be able to point at this and say hey you can watch hamilton you can watch a version of hamilton and um get to experience what what it is but it's never

[00:35:59] gonna replace the actual thing um again as a as a theater person as a musical person um i really appreciate that we have this and that this um somewhat changed the framework of um professional shots uh musical productions um like just recently merrily we roll along uh was released on netflix

[00:36:25] so that that's nice to have uh for the people that were not able to see um this cast too and to see the show so it's nice to be able to to see this but it will never replace uh being in the room where it happens right to to be corny here but where it happens where it happens but but like i said it's

[00:36:49] great to to have this and um i don't fault it for that at all now um should this be on the imdb top to 50 50 i'm i'm not sure um i i kind of feel convinced by your argument that you know this is not a film it's it's a film stage production um so it's like you know if the the the anniversary performance that

[00:37:14] was filmed from phantom of the opera in the royal albert hall was on this but on over the the gerard butler film version of it um there would be a little weird right um because it should be film first and not stage first i guess absolutely so so yeah i i get that argument um and again it's i'm just here appreciating that this exists in the first place because it's very rare um there are

[00:37:45] countless uh phone videos of people that film shows on on youtube and all that and it's good to kind of get an idea of what a show is uh i've been down many a rabbit hole of who's saying define gravity better which results in the 25 minute video of people yelling the same notes in your ears which is

[00:38:08] hilarious in its own way but you know um as as somebody who gets more into you know choices and and how people sing and how people do interpret characters and all that i think it's very fascinating to to have this as a document but again i have seen all these individual parts done differently and more to what i

[00:38:33] uh enjoy by other people so it's probably for me it's not the strongest representation of the show but i'm appreciative of it regardless yeah i'm appreciative it exists but you know it is what it is i it it pisses me off in a sense because there's so many good films that we're missing out on

[00:39:00] and that this one just the one that we have to watch because it's number 132 or whatever i'm not a i'm not a fan of that i feel like it's a good it's a good stage play and i kind of get the gist about why hamilton works i love the music music is good rap is great um there's a lot of um there's a lot of

[00:39:26] what do you call it modern day hip-hop shenanigans mixed in um and the music feels great but i don't think that you know this should be on the list whatsoever but i don't have anything i'm just going to be retreading the same steps um and i think the audience already knows my my perspective on this

[00:39:47] yeah yeah sounds good um next up i i was confused because there's a film that jumped the list i swear i've never heard of it it releases april um we'll cross that bridge when we get there i guess um until then we are going to cross another bridge for a few dollars more oh yes yes back to the westerns uh

[00:40:14] uh i'm looking forward to watching this one i i recently saw a whole clint eastwood collection on apple tv and i'm thinking of on nabbing that whole list um yeah i'm looking forward to talking about it excellent oh klaus kinski is in this excellent uh until then though where can people find us

[00:40:37] uh they can find us on instagram on facebook on on x and on blue sky on at movie mistrial on at movie mistrial or they can send us an email to contact at movie mistrial.com all right au revoir saying bye-bye