Step into the golden age of Hollywood with Movie Mistrial as we celebrate the iconic musical masterpiece, Singin' in the Rain.
With unforgettable performances by Gene Kelly, Debbie Reynolds, and Donald O'Connor, Singin' in the Rain is a joyous celebration of music, dance, and the magic of movies. Its infectious energy, dazzling choreography, and timeless humor make it one of the greatest musicals of all time, capturing the charm and transition of Hollywood from silent films to talkies.
While Singin' in the Rain is beloved for its fun and lightheartedness, some critics may find its narrative simplistic, with certain plot points taking a backseat to the film’s elaborate musical numbers, potentially impacting the depth of the story.
Join us for a lively discussion as we tap-dance through the brilliance of Singin' in the Rain and explore its lasting influence on the world of musicals.
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[00:00:16] Do you swear to tell the truth, the whole truth and nothing but the truth so help you guys?
[00:00:19] Welcome to Movie Mistrial.
[00:00:21] The podcast where we debate the accuracy of IMDB's top 250 movies of all time.
[00:00:28] My name is Johannes.
[00:00:30] And I'm Raji.
[00:00:31] Today we're diving into the world of classic Hollywood with Singing in the Rain, the 1952 musical directed by Gene Kelly and Stanley Donan.
[00:00:40] Set during the transition from silent films to talkies, the movie is known for its infectious songs, iconic dance sequences and its lighthearted satire of the film industry.
[00:00:50] The film stars Gene Kelly, who not only directed but also choreographed many of the dance members alongside Debbie Reynolds and Donald O'Connor.
[00:01:00] And let's not forget Gene Hagen, whose comedic turn as the voice challenger's Lena Lamont earned her an Academy Award nomination.
[00:01:10] Despite its somewhat simplistic narrative, Singing in the Rain is regarded as one of the greatest musicals of all time.
[00:01:16] It was not a huge hit upon release, but has since gained a significant following and critical acclaim, including a spot on the American Film Institute's list of the greatest American movies ever made.
[00:01:26] Well before we get caught up in the dance routines and rain bottles, I have to ask, how's the weather on your side of the street today?
[00:01:34] Oh you know, it's cloudy with a chance of meatballs I guess.
[00:01:39] No, it's all good.
[00:01:40] It's, you know, it's fine.
[00:01:43] I did a quick trip to Hawaii last weekend and I know that always sounds like, wow, that's cool.
[00:01:49] But then it was like raining, hurricane and I was working.
[00:01:54] So I didn't get to enjoy any of the classic Hawaii stuff.
[00:02:00] Bar for the food, poke and like a wine barbecue, fantastic stuff.
[00:02:06] How are you doing?
[00:02:08] I'm doing pretty well.
[00:02:09] I think that depending on when this podcast gets uploaded, I'm going to be thinking about my 40th birthday.
[00:02:19] And I think that I'm going to probably take some time off to appreciate the fact that I'm turning 40 in the next few weeks.
[00:02:30] But ultimately, I'm doing quite well.
[00:02:32] Yeah.
[00:02:33] We're both turning 40 this year.
[00:02:35] Look at that.
[00:02:36] Really?
[00:02:36] Yeah.
[00:02:37] Oh.
[00:02:38] How are you, do you anticipate celebrating?
[00:02:41] I have no idea.
[00:02:45] My birthday is in December, so it's, yeah, I don't know.
[00:02:49] Oh man.
[00:02:50] Yeah.
[00:02:50] My birthday is in January.
[00:02:52] So.
[00:02:53] Okay.
[00:02:54] We're thinking about going to Japan to just relax and I don't know.
[00:03:00] I don't know if you relax in Japan in January, to be fair, but we're going to Japan anyways.
[00:03:06] I hear it's cold.
[00:03:08] It is.
[00:03:09] It is.
[00:03:09] But it wouldn't be the first time I went to somewhere cold to celebrate the holidays.
[00:03:14] Yeah.
[00:03:16] That's, but yeah, never went to Japan.
[00:03:18] I think we covered that already.
[00:03:20] It's one of these times, one of these years.
[00:03:24] We'll make that happen.
[00:03:26] Well, I think that there's a lot of people who are interested in going to Japan these days.
[00:03:31] I've seen a lot of summer stories about overcrowding and overpopulation in Japan and seeing people
[00:03:40] who have stores get mad at folks who are coming into the stores.
[00:03:45] It's been interesting.
[00:03:46] I just found it intriguing when you have too many people in your country over the summer holidays.
[00:03:54] Yeah.
[00:03:55] Yeah.
[00:03:55] I mean, it's, I feel like there's almost a resurgence of, like a lot of the travel influences
[00:04:02] are going to Japan now, it seems like, and a lot of the food influences are going to Japan
[00:04:05] too.
[00:04:08] So, yeah.
[00:04:10] There's something very interesting about the country because it's so, so different, I think.
[00:04:17] All right.
[00:04:17] Well, now that we've talked a little bit about the land of the rising sun.
[00:04:23] Let's go to Hollywood.
[00:04:24] Let's go to Hollywood.
[00:04:26] Exactly.
[00:04:29] Like, jump and delve into the whole topic.
[00:04:33] Maybe we should do a synopsis of what this movie is and then jump into the heads and tails.
[00:04:38] Sounds great.
[00:04:39] Let's do that.
[00:04:41] Singing in the Rain is a joyful musical comedy directed by Gene Kelly and Stanley Donut.
[00:04:46] Set in 1920s Hollywood during the transition from silent films to talkies, the film follows
[00:04:51] Don Lockwood, a popular silent film star, as he navigates the challenges of adapting to sound
[00:04:56] in cinema.
[00:04:58] Alongside his best friend Cosmo and the love interest Kathy, Don works to salvage his latest
[00:05:02] film and overcome the challenges posed by his co-star, the talentless but glamorous Lena
[00:05:07] Lamont.
[00:05:08] With dazzling musical numbers, including the iconic singing in the rain sequence, the film
[00:05:13] is a celebration of Hollywood's golden age, known for its charm, humor and spectacular choreography.
[00:05:18] So yeah, you run off the mill Hollywood story.
[00:05:25] A movie about Hollywood making, talking about Hollywood.
[00:05:30] Yeah.
[00:05:31] Wonderful movie that gets Academy Award nominations.
[00:05:34] You'll have to think that Hollywood likes to talk about themselves and their struggles when
[00:05:40] you think about it.
[00:05:41] The amount of Hollywood films that have gotten Academy Award nominations.
[00:05:47] Right.
[00:05:49] Yeah.
[00:05:50] I mean, there's just quite a few movies lately that have been kind of dealing with that era,
[00:05:57] I would think.
[00:06:00] But the interesting thing is we've seen quite a few films that talk about this specific topic,
[00:06:07] the transition from silent to talking.
[00:06:12] But very few films targeted or talk about it from this particular perspective.
[00:06:19] And I'm going to give a little bit of a caveat before we go into the tales and heads and tails.
[00:06:29] Singing in the rain is probably my top 10 films of all time.
[00:06:33] And it's one of my favorite films.
[00:06:35] Because whenever I get a chance to watch it, I love this film.
[00:06:40] So it's going to be interesting to see which direction I have to actually argue for.
[00:06:44] But I'll give the whole conversation that little bit of caveat.
[00:06:50] It's, you know, whenever you wander through Oakland and it's raining to see somebody dancing through the streets.
[00:06:57] There's a non-zero chance as Raji.
[00:07:00] I mean, I literally was dancing all day yesterday.
[00:07:03] So don't be surprised.
[00:07:05] It could be me.
[00:07:06] Excellent.
[00:07:09] That's cool.
[00:07:10] That's cool.
[00:07:10] So you've seen this many times, I assume?
[00:07:12] I've seen it, yes.
[00:07:13] I've seen it many times.
[00:07:15] Okay, cool.
[00:07:16] I think this is the second time I've seen this.
[00:07:19] I've seen it in a theater, in our local theater a while ago.
[00:07:22] They showed it.
[00:07:23] They have classic movie nights.
[00:07:24] And they show classic movies for free on the big screen.
[00:07:27] So it's a cool experience.
[00:07:29] Seeing these classic films as they were intended to.
[00:07:33] And not just.
[00:07:36] Kind of a different experience in a way.
[00:07:37] But yeah, that's cool.
[00:07:39] Should we toss a coin?
[00:07:42] Yes.
[00:07:44] I'm going to go with heads as usual.
[00:07:47] Heads it is.
[00:07:49] I'm going to go against the film.
[00:07:52] Oh, despite loving it so much.
[00:07:54] Yeah, I think that I'll go against the film.
[00:07:56] I'm curious to know what you liked about this.
[00:07:59] It would be too much of a...
[00:08:01] It would be too easy if I just went, oh my God, this is the things that I enjoyed about it.
[00:08:06] But I'm curious to know what you liked about the film too.
[00:08:09] Okay.
[00:08:10] Sounds good.
[00:08:11] Well, let's dive into Hollywood and a pivotal time in history.
[00:08:17] And the witness will address this quote as judge or your honor.
[00:08:20] Singing in the Rain, released in 1952, is regarded as one of the greatest musicals ever made.
[00:08:28] But I think there are a couple of things that you can actually point out about the film that just makes it a little bit difficult to make it a perfect film.
[00:08:43] Right?
[00:08:43] I think that one of the...
[00:08:46] The one major thing that we can talk about is the fact that the narrative simplicity and predictability of the film is easily...
[00:08:59] The movie is easily predictable and the movie has a simplistic narrative.
[00:09:05] It does not take into account a lot of the complexities that was involved in that transition during that period of time.
[00:09:15] It was a complex period where there was a lot of upheaval.
[00:09:20] A lot of people lost their jobs.
[00:09:22] A lot of people could not make that transition.
[00:09:24] There was a lot of pushback initially.
[00:09:28] And eventually...
[00:09:28] I mean, even look at Charlie Chaplin, one of the guys we've reviewed several times.
[00:09:32] It took a while for him to transition from that period to the talkies.
[00:09:39] But this movie made it simplistic.
[00:09:42] And it was relatively predictable in the way it played out.
[00:09:49] The characters were a little bit simple.
[00:09:53] Dan Lockwood was...
[00:09:55] You know, played by Gene Kelly was the charming, fleshed out, archetypal main character who was charming.
[00:10:05] Everybody loved him.
[00:10:07] Kathy Seldon was the virtuous lady who was just doing everything right.
[00:10:18] But was very virtuous while they were doing it.
[00:10:22] And, you know, the character of Cosmo was the comedic person who made everybody laugh.
[00:10:32] And he even had a song that actually kind of made that extremely clear.
[00:10:39] And finally, I think of all the issues that I have with the film,
[00:10:46] the song, that Broadway melody at the very end of the film was just so glaring as a point of indulgence by the director.
[00:10:57] I feel like Gene Kelly, because he was directing the film,
[00:11:02] felt like he wanted to put a musical number for him.
[00:11:05] And he added a Broadway melody with a ballet sequence that felt out of place with the kind of film they were trying to make.
[00:11:15] One of the arguments that he was talking about when they were talking about the movie
[00:11:19] was that they were going to add a sequence like that into the film.
[00:11:22] But the movie they were making was in, like, old France or old England,
[00:11:28] where everybody was having long hair.
[00:11:31] And it did not, the Broadway scene didn't fit.
[00:11:35] So it felt a little bit indulgent.
[00:11:37] And it also disrupted the flow of the film entirely.
[00:11:41] I think that they could have removed that whole dance sequence.
[00:11:44] And this movie would have stayed more coherent.
[00:11:49] Especially given the fact that, you know,
[00:11:51] they had, there was a whole story that was told in that musical sequence
[00:11:57] that could have, from like the entrance,
[00:12:01] somebody who was looking to make a career,
[00:12:02] becoming a significant person in the industry,
[00:12:05] finding a woman he loved, being rebuked by the gangsters,
[00:12:09] and eventually finding another option.
[00:12:15] The lady with the flowing garb, moving on,
[00:12:20] and finding somebody else who wants to join Broadway at the very end.
[00:12:23] That was a whole sequence in that musical
[00:12:26] that had nothing to do with the movie they were trying to make.
[00:12:29] So it was broken up.
[00:12:31] It felt, made the film feel broken up and incoherent.
[00:12:36] But that's what I'm going to start with.
[00:12:38] What about you?
[00:12:41] So, Singing in the Rain.
[00:12:45] The fascinating thing about Singing in the Rain
[00:12:47] is that it has layers.
[00:12:51] Once you peel back the layers of this movie on the end,
[00:12:56] it gets better and better.
[00:12:58] So the first layer is the main story at heart.
[00:13:02] And as you pointed out,
[00:13:04] it's not necessarily very interesting because it's very cliche.
[00:13:08] We start off with the time sequence of
[00:13:13] we're in Hollywood at the time
[00:13:15] in the transition of silent films to talkies
[00:13:19] and the actor's plight within.
[00:13:23] And we've seen this multiple times.
[00:13:25] I think Singing in the Rain is one of them.
[00:13:28] Modern Times, I think, was another one
[00:13:29] that we've even reviewed here
[00:13:32] that dealt with that.
[00:13:34] But recent films like...
[00:13:37] I mean, Santa Boulevard is one of them
[00:13:39] that we also reviewed.
[00:13:42] Babylon is one of the films.
[00:13:44] So there's multiple films
[00:13:46] that deal with that time period.
[00:13:48] And the more I think about that,
[00:13:50] why that is,
[00:13:51] is one, I think it's
[00:13:53] because Hollywood likes to be very self-intelligent.
[00:13:56] But, you know, that's fine.
[00:13:58] But two is how it clearly revolutionized
[00:14:01] the film industry.
[00:14:03] And there are snippets in this film
[00:14:05] that we can gleam into
[00:14:08] how that is
[00:14:10] and why that is.
[00:14:11] And namely, there's one sequence
[00:14:13] that sticks out
[00:14:15] when they're in the studio
[00:14:17] while they're filming silent films.
[00:14:19] And you can see that there are multiple sets
[00:14:21] and they're actively filming multiple scenes
[00:14:24] because it doesn't matter that people talk.
[00:14:26] Right?
[00:14:27] Like, everything will be...
[00:14:28] Like, sound is not an issue there.
[00:14:31] So they were able to just produce,
[00:14:33] produce, produce, and crank it out.
[00:14:35] And I think from the complexity
[00:14:37] and kind of the threat
[00:14:39] that this period had,
[00:14:41] one of them is clearly throughput
[00:14:43] of production.
[00:14:44] Right?
[00:14:45] And that's...
[00:14:46] So there's...
[00:14:49] The threat of this time
[00:14:50] is not only on the actors
[00:14:52] that are not able to speak.
[00:14:54] Interesting enough,
[00:14:55] it's always a female protagonist
[00:14:58] that has the shrill voice,
[00:14:59] which may be a little sexist.
[00:15:02] But in a lot of the examples
[00:15:04] that we've seen
[00:15:04] that I've kind of cited,
[00:15:06] it's always a female actress
[00:15:07] that is the problem
[00:15:11] for whatever reason.
[00:15:13] But regardless,
[00:15:15] it's the...
[00:15:16] It's one of the most influential
[00:15:19] changes in film history.
[00:15:21] And I think that's why
[00:15:23] we're so infatuated with it.
[00:15:25] And I think that's why
[00:15:25] Hollywood is so infatuated with it.
[00:15:27] And so that's kind of the first layer.
[00:15:30] And it's arguably
[00:15:31] the least interesting in a way.
[00:15:33] The second one is,
[00:15:36] like I said,
[00:15:36] it's from the 50s.
[00:15:38] So this is already
[00:15:40] a couple decades
[00:15:40] after this change happened.
[00:15:43] And the fascinating thing
[00:15:44] about that is
[00:15:45] now we can,
[00:15:46] in a very slight of handy
[00:15:48] kind of way,
[00:15:48] we can reap the rewards
[00:15:50] of the talking movies
[00:15:53] because we're not only talking,
[00:15:55] but we're having music
[00:15:56] and musical numbers.
[00:15:58] So it's highly complex
[00:16:02] like doing all of that, right?
[00:16:04] So it's kind of showing
[00:16:07] such a steep contrast
[00:16:08] of the silent films
[00:16:10] versus the musical numbers
[00:16:13] and the performances
[00:16:14] that we see here.
[00:16:16] And that is amazing.
[00:16:18] And I think it's such a,
[00:16:20] like I said,
[00:16:20] kind of sleight of hand
[00:16:21] because it's not obvious
[00:16:22] at first what they're doing,
[00:16:24] but it's so smart
[00:16:25] because it's really showing
[00:16:27] the brilliance of
[00:16:30] the capabilities
[00:16:31] of bringing all these
[00:16:32] forms of media together, right?
[00:16:37] And I mean,
[00:16:39] the third level,
[00:16:40] I think,
[00:16:40] is just the tour de force
[00:16:42] that is the performances
[00:16:43] that we see here.
[00:16:45] The music is catchy
[00:16:47] and stays in your head,
[00:16:48] but oh my,
[00:16:50] it's the dancing
[00:16:52] and the sequences
[00:16:53] and the sets
[00:16:55] is that extravagant
[00:16:57] and crazy
[00:16:58] and crazy good.
[00:17:00] And it's rightfully
[00:17:02] on lists of best movies
[00:17:06] of all time
[00:17:06] because these sequences
[00:17:09] are so complex,
[00:17:10] but it's so well done
[00:17:12] and it's so skillfully
[00:17:16] portrayed as,
[00:17:19] you know,
[00:17:20] it's no big deal
[00:17:21] to do these,
[00:17:22] this make him laugh sequence
[00:17:23] is so,
[00:17:24] like,
[00:17:24] he makes it look effortless
[00:17:26] and that's amazing
[00:17:27] because that sequence
[00:17:28] is nuts.
[00:17:31] So yeah,
[00:17:32] like all in all,
[00:17:33] it's a crazy good movie
[00:17:35] from many perspectives
[00:17:38] and I think,
[00:17:40] like I said,
[00:17:41] the core story
[00:17:42] is kind of simplistic,
[00:17:44] but it's fine
[00:17:45] because the focus here,
[00:17:48] in my opinion,
[00:17:49] is clearly showcasing
[00:17:52] where we've gotten
[00:17:53] from this transition
[00:17:54] and all the beauty
[00:17:56] we can create
[00:17:57] with that transition.
[00:18:00] Thank you so much.
[00:18:01] I think those are
[00:18:02] some really good points
[00:18:03] and I think
[00:18:04] I'm probably going to start
[00:18:05] from the main point
[00:18:06] you made about
[00:18:07] the dance sequences,
[00:18:09] how those were spectacular.
[00:18:12] I feel like sometimes
[00:18:13] the dance sequences
[00:18:14] in this movie,
[00:18:17] they are the greatest strengths
[00:18:20] of the film,
[00:18:21] but they sometimes seem
[00:18:24] to overshadow the narrative
[00:18:27] making the film feel
[00:18:28] more like a series
[00:18:30] of set pieces
[00:18:31] rather than a cohesive story.
[00:18:33] For example,
[00:18:34] when he finally found her
[00:18:37] and they started to talk,
[00:18:40] while they were,
[00:18:41] I think that he was,
[00:18:42] he had been looking for her
[00:18:43] for months
[00:18:44] at this particular point
[00:18:45] and he sees her
[00:18:47] and they start to talk
[00:18:48] and eventually they go,
[00:18:50] it doesn't feel natural
[00:18:52] to talk to you here.
[00:18:53] Let's go into the stage.
[00:18:55] They step into the stage
[00:18:56] like there's nothing here
[00:18:57] and he turns on the lights,
[00:18:59] we see the background,
[00:19:00] he turns on the smoke
[00:19:02] and then he uses that avenue
[00:19:04] to portray the message
[00:19:06] he was trying to give to her.
[00:19:09] But I felt like
[00:19:10] it felt unnatural
[00:19:11] when you think about it.
[00:19:13] It's like,
[00:19:14] and you know,
[00:19:15] this could be a critique
[00:19:18] of musicals in general,
[00:19:20] but I think that this movie
[00:19:22] overindulged
[00:19:22] given the fact that
[00:19:24] there was a lot of emphasis
[00:19:27] on the splendor
[00:19:29] and spectacle
[00:19:30] of some of the sounds,
[00:19:31] of some of the dance sequences.
[00:19:33] So I think that this was unique
[00:19:36] to this film in a sense.
[00:19:37] The overemphasis on spectacle
[00:19:41] than you would normally see
[00:19:43] in a dance sequence,
[00:19:45] especially an American one.
[00:19:47] I also felt like
[00:19:48] some of the characters
[00:19:49] were underutilized.
[00:19:51] I felt like
[00:19:53] Donald O'Connor's character,
[00:19:54] Cosmo Brown,
[00:19:55] who added a significant amount
[00:19:57] of humor
[00:19:57] right from the very beginning
[00:19:58] when he jumped out of the car
[00:19:59] and the girl goes,
[00:20:01] yay!
[00:20:01] And then seconds later
[00:20:03] when they realize
[00:20:03] that Don Lockwood
[00:20:06] is not there,
[00:20:07] they go,
[00:20:07] oh.
[00:20:08] Oh.
[00:20:10] But I felt like
[00:20:12] he didn't do,
[00:20:14] he wasn't used
[00:20:16] as well as he could.
[00:20:18] He only was popped up
[00:20:19] in only areas
[00:20:21] where they just needed
[00:20:22] a little bit of humor
[00:20:23] to push things along.
[00:20:25] And I felt like
[00:20:27] he didn't change the plot,
[00:20:29] he didn't grow
[00:20:30] as a character.
[00:20:31] I mean,
[00:20:32] he got promotions
[00:20:33] but his only role
[00:20:35] in that whole film
[00:20:36] was just to provide
[00:20:37] a counterpoint
[00:20:39] to Don Lockwood
[00:20:39] and give him,
[00:20:42] show him grow
[00:20:44] in the musical arena.
[00:20:46] And, you know,
[00:20:47] the gender dynamic situation
[00:20:49] is also a little bit.
[00:20:52] Lena Lamont,
[00:20:53] I don't think she actually
[00:20:54] did anything wrong
[00:20:55] in this film.
[00:20:56] She was an actress
[00:20:57] who had a,
[00:20:59] you know,
[00:20:59] an interesting voice.
[00:21:00] They could have used
[00:21:01] the voice.
[00:21:03] But then you have
[00:21:04] a scenario
[00:21:05] where the two main characters
[00:21:06] plot against her
[00:21:08] in the back,
[00:21:10] behind her back.
[00:21:11] They start to use
[00:21:13] another actress
[00:21:14] to record over her voice.
[00:21:17] That's why the fact
[00:21:18] that for decades
[00:21:18] she has been
[00:21:19] giving the company
[00:21:21] so much money
[00:21:22] from all the
[00:21:25] wonderful movies
[00:21:26] that she's acted in.
[00:21:28] And then somehow,
[00:21:29] somehow,
[00:21:30] this guy who just
[00:21:31] was a stuntman
[00:21:32] who just luckily
[00:21:33] got there
[00:21:35] just to plan
[00:21:36] her demise
[00:21:37] and get her
[00:21:38] kicked out
[00:21:39] of the whole
[00:21:41] movie industry
[00:21:43] just because
[00:21:44] she had a bad voice.
[00:21:46] They never gave her
[00:21:47] the opportunity
[00:21:47] to make a decision
[00:21:49] on any of that
[00:21:51] conversation.
[00:21:51] They just made
[00:21:52] that decision for her.
[00:21:53] And when she pushed back,
[00:21:55] she was painted
[00:21:56] as the villain.
[00:21:56] And they idealized
[00:21:59] the character
[00:22:01] of Kathy Seldon
[00:22:03] because they made her
[00:22:05] this timid woman
[00:22:07] who was always sweet,
[00:22:09] who was talented,
[00:22:10] who was always
[00:22:11] very supportive
[00:22:11] of the men.
[00:22:12] And they gave her
[00:22:13] an elevation
[00:22:14] that I would say
[00:22:17] in today's world
[00:22:18] is totally unnecessary.
[00:22:20] So from that particular
[00:22:21] aspect of the film,
[00:22:23] the gender dynamics
[00:22:25] seems to enforce
[00:22:26] the gender dynamics
[00:22:28] of the past.
[00:22:30] And I felt like
[00:22:31] in a sense,
[00:22:32] that movie was
[00:22:33] a little bit weak
[00:22:34] from that particular issue.
[00:22:35] I've discussed
[00:22:36] the pacing issues.
[00:22:38] The Broadway melody
[00:22:39] was too long.
[00:22:40] The Broadway melody
[00:22:41] was too disconnected
[00:22:42] from the film.
[00:22:43] I also think
[00:22:45] that there's
[00:22:45] a little bit
[00:22:46] of historical accuracy
[00:22:48] problems with the film
[00:22:49] because the transition
[00:22:50] from the talkies
[00:22:51] to the transition
[00:22:54] to the talkies
[00:22:55] was definitely
[00:22:56] not as smooth
[00:22:57] that it was portrayed
[00:22:58] in this film.
[00:22:59] And a lot of the problems,
[00:23:02] a lot of the issues
[00:23:03] that actors
[00:23:05] who were prominent
[00:23:07] in the world
[00:23:08] of the silent films
[00:23:10] were not basically
[00:23:13] showcased in this movie
[00:23:15] at all.
[00:23:15] It just felt
[00:23:16] like it was
[00:23:18] a smooth transition.
[00:23:19] Somebody comes in
[00:23:19] and says,
[00:23:20] oh, check out
[00:23:22] this movie
[00:23:22] that we're going
[00:23:23] to have
[00:23:23] and watch a video
[00:23:24] of somebody
[00:23:25] talking in the movie
[00:23:26] and everybody's like,
[00:23:27] there's somebody
[00:23:27] behind the screen
[00:23:28] and within two scenes
[00:23:30] they're like,
[00:23:31] we have to
[00:23:32] make the change
[00:23:34] to the talkies
[00:23:37] because we're getting
[00:23:39] destroyed
[00:23:39] in the box office.
[00:23:41] I think the transition
[00:23:42] to the talkies
[00:23:42] was also
[00:23:44] the complexities
[00:23:45] were not highlighted
[00:23:46] enough.
[00:23:48] the argument
[00:23:49] you probably have
[00:23:50] is this is a musical.
[00:23:51] Should we be highlighting
[00:23:52] that kind of complexity?
[00:23:54] It's not my job
[00:23:56] to answer that question.
[00:23:57] It's my job
[00:23:57] to point out
[00:24:00] the weaknesses.
[00:24:02] So yeah.
[00:24:03] I mean,
[00:24:04] like I said,
[00:24:05] there's layers
[00:24:05] and I think
[00:24:06] the business complexities
[00:24:10] of this transition
[00:24:12] is not part
[00:24:14] of this onion,
[00:24:17] of this movie onion.
[00:24:19] It's alluded to,
[00:24:21] but it's not part.
[00:24:23] The only way
[00:24:24] we gleam into that
[00:24:26] is through the problems
[00:24:30] the actors have
[00:24:33] for the
[00:24:34] for the musical sequence
[00:24:35] at the end
[00:24:36] in
[00:24:37] in a twisted way
[00:24:39] it is
[00:24:40] retelling
[00:24:41] kind of
[00:24:41] it's retelling
[00:24:42] the whole story
[00:24:44] the way
[00:24:45] Hollywood
[00:24:46] would
[00:24:51] synthesize
[00:24:52] a story
[00:24:53] about an actor
[00:24:54] kind of coming
[00:24:55] to town
[00:24:56] and making it
[00:24:57] and
[00:25:00] with all the plights
[00:25:01] and so in a way
[00:25:02] it's like
[00:25:03] a fantastical
[00:25:04] retelling
[00:25:04] of the film
[00:25:05] that we are seeing
[00:25:06] if we just look
[00:25:07] at the story
[00:25:08] of the main characters.
[00:25:10] So that's
[00:25:11] kind of fun
[00:25:12] because it's almost
[00:25:13] like
[00:25:15] like
[00:25:17] he's wearing
[00:25:17] a producer hat
[00:25:19] and he's thinking
[00:25:20] about the story
[00:25:21] that he's
[00:25:21] lived
[00:25:23] and how he would
[00:25:25] recreate that
[00:25:26] in a
[00:25:26] in a musical
[00:25:27] number
[00:25:27] and we're
[00:25:28] seeing all
[00:25:28] of that
[00:25:31] granted
[00:25:31] it's
[00:25:32] it's
[00:25:32] kind of
[00:25:32] synthesizing
[00:25:33] 90 minutes
[00:25:34] of film
[00:25:35] at that
[00:25:35] point
[00:25:35] so it is
[00:25:36] it is
[00:25:36] long
[00:25:39] the
[00:25:40] interesting
[00:25:40] thing in a way
[00:25:41] is that we
[00:25:42] didn't even talk
[00:25:43] about how he's
[00:25:44] how he made it
[00:25:45] into Hollywood
[00:25:46] and it's all
[00:25:46] kind of a sham
[00:25:47] and it's all
[00:25:47] just
[00:25:50] he's
[00:25:50] he's always
[00:25:51] whenever he's
[00:25:52] talking about
[00:25:53] how he started
[00:25:53] out as an actor
[00:25:54] he's really
[00:25:56] embellishing it
[00:25:56] like he's
[00:25:57] oh yeah
[00:25:57] I've been a
[00:25:58] performer from
[00:25:58] from the
[00:25:59] beginning
[00:25:59] and I've
[00:26:00] toured so
[00:26:01] many places
[00:26:01] but then we
[00:26:02] see the
[00:26:03] actuality of
[00:26:03] it and it's
[00:26:04] all smoke
[00:26:04] and mirrors
[00:26:05] until he
[00:26:06] made it
[00:26:06] by filling
[00:26:07] in and
[00:26:08] just kind
[00:26:08] of
[00:26:11] you know
[00:26:12] taking the
[00:26:13] chance
[00:26:13] taking many
[00:26:13] chances
[00:26:14] actually
[00:26:14] but
[00:26:15] and then
[00:26:16] turning into
[00:26:17] a big star
[00:26:17] the
[00:26:18] the
[00:26:21] I mean
[00:26:22] the
[00:26:22] the
[00:26:23] the
[00:26:24] critique
[00:26:25] that I
[00:26:25] have
[00:26:26] when it
[00:26:26] comes to
[00:26:26] characters
[00:26:27] is
[00:26:28] what's her
[00:26:29] name
[00:26:29] the
[00:26:30] the
[00:26:31] female
[00:26:31] talkie
[00:26:32] lady
[00:26:34] I forgot
[00:26:36] Kathy Sheldon
[00:26:37] Lena Lamont
[00:26:38] yeah
[00:26:39] Lena Lamont
[00:26:40] so
[00:26:41] because
[00:26:41] it's
[00:26:42] this is
[00:26:43] business
[00:26:43] right
[00:26:44] and
[00:26:44] and at
[00:26:45] the end
[00:26:45] of the
[00:26:45] day
[00:26:46] Hollywood
[00:26:47] will
[00:26:47] will
[00:26:48] pull you
[00:26:49] up
[00:26:49] and Hollywood
[00:26:50] will spit
[00:26:50] you out
[00:26:51] if you're
[00:26:51] no longer
[00:26:52] part of
[00:26:53] business
[00:26:53] and
[00:26:54] at the
[00:26:55] end
[00:26:55] she is
[00:26:57] kind of
[00:26:58] portrayed
[00:26:58] as if
[00:26:59] she had
[00:26:59] any power
[00:26:59] but it's
[00:27:00] like
[00:27:00] come on
[00:27:01] you don't
[00:27:01] have any
[00:27:02] power
[00:27:02] like your
[00:27:03] contracts
[00:27:03] don't mean
[00:27:03] anything
[00:27:05] right
[00:27:05] like
[00:27:05] so that's
[00:27:06] kind of
[00:27:06] the only
[00:27:07] critique I
[00:27:07] have
[00:27:07] because
[00:27:08] it's
[00:27:08] it's
[00:27:08] kind
[00:27:08] of a
[00:27:09] fake
[00:27:09] conflict
[00:27:10] that is
[00:27:11] not
[00:27:11] super
[00:27:11] realistic
[00:27:13] for the
[00:27:14] time
[00:27:14] and for
[00:27:15] her
[00:27:16] gender
[00:27:16] and
[00:27:17] the
[00:27:18] position
[00:27:18] she was
[00:27:18] in
[00:27:19] right
[00:27:19] she's
[00:27:19] yes
[00:27:20] she has
[00:27:20] a contract
[00:27:20] but
[00:27:21] the studio
[00:27:21] can decide
[00:27:22] not to
[00:27:23] have you
[00:27:24] appear in
[00:27:24] any movies
[00:27:24] and still
[00:27:25] pay you
[00:27:26] right
[00:27:26] it's just
[00:27:27] written off
[00:27:27] who cares
[00:27:28] right
[00:27:28] so you
[00:27:30] don't have
[00:27:30] any power
[00:27:30] please sit
[00:27:31] down
[00:27:34] and
[00:27:34] and again
[00:27:35] it's
[00:27:35] it's
[00:27:36] interesting
[00:27:36] that
[00:27:36] the
[00:27:37] problem
[00:27:38] with the
[00:27:38] transition
[00:27:39] to
[00:27:39] talkies
[00:27:39] is
[00:27:40] always
[00:27:40] women
[00:27:41] have
[00:27:41] too
[00:27:41] shrill
[00:27:41] of a
[00:27:42] voice
[00:27:43] right
[00:27:44] it's
[00:27:44] it's
[00:27:45] not
[00:27:45] that
[00:27:45] men
[00:27:45] have
[00:27:46] a
[00:27:46] weird
[00:27:46] voice
[00:27:46] or
[00:27:47] weird
[00:27:47] accents
[00:27:47] or
[00:27:48] it's
[00:27:48] always
[00:27:48] women
[00:27:49] have
[00:27:49] a
[00:27:49] shrill
[00:27:49] voice
[00:27:50] I
[00:27:50] find
[00:27:50] fascinating
[00:27:51] that
[00:27:51] that's
[00:27:52] the
[00:27:52] hook
[00:27:52] because
[00:27:53] I
[00:27:53] suspect
[00:27:54] that's
[00:27:54] probably
[00:27:55] not
[00:27:55] the
[00:27:55] case
[00:27:56] for
[00:28:14] showy
[00:28:15] it
[00:28:15] it
[00:28:15] is
[00:28:16] it
[00:28:16] is
[00:28:16] a
[00:28:16] showcase
[00:28:17] for
[00:28:17] Hollywood
[00:28:19] for
[00:28:20] the
[00:28:20] technical
[00:28:21] capabilities
[00:28:22] of
[00:28:22] Hollywood
[00:28:22] in the
[00:28:23] 50s
[00:28:23] portraying
[00:28:25] that
[00:28:25] into
[00:28:25] a
[00:28:26] story
[00:28:27] way
[00:28:28] earlier
[00:28:28] and I
[00:28:29] think
[00:28:29] that's
[00:28:29] so
[00:28:30] brilliant
[00:28:31] because
[00:28:31] I
[00:28:31] wouldn't
[00:28:32] have
[00:28:32] been
[00:28:32] able
[00:28:32] to
[00:28:32] make
[00:28:32] this
[00:28:33] movie
[00:28:34] right
[00:28:34] during
[00:28:35] the
[00:28:35] time
[00:28:35] when
[00:28:35] that
[00:28:35] transition
[00:28:36] happened
[00:28:36] I
[00:28:36] don't
[00:29:13] because
[00:29:14] complex
[00:29:15] and
[00:29:15] insane
[00:29:16] and
[00:29:16] well
[00:29:16] done
[00:29:17] and
[00:29:18] there's
[00:29:19] so
[00:29:19] much
[00:29:19] joy
[00:29:19] in
[00:29:20] this
[00:29:20] that
[00:29:21] I
[00:29:21] think
[00:29:21] you
[00:29:22] cannot
[00:29:22] really
[00:29:22] fault
[00:29:23] it
[00:29:23] for
[00:29:23] too
[00:29:23] much
[00:29:25] yeah
[00:29:25] I
[00:29:26] do
[00:29:26] think
[00:29:26] I
[00:29:26] do
[00:29:27] think
[00:29:27] you
[00:29:27] have
[00:29:27] a
[00:29:27] point
[00:29:27] about
[00:29:29] the
[00:29:29] men
[00:29:30] and
[00:29:30] how
[00:29:31] the
[00:29:31] women
[00:29:31] are
[00:29:31] portrayed
[00:29:32] to
[00:29:32] I
[00:29:32] think
[00:29:32] and I
[00:29:33] alluded
[00:29:33] to
[00:29:34] that
[00:29:34] in
[00:29:34] a
[00:29:34] sense
[00:29:35] men
[00:29:36] were
[00:29:36] always
[00:29:37] perfect
[00:29:37] nothing
[00:29:38] wrong
[00:29:38] with
[00:29:38] them
[00:29:39] they
[00:29:39] could
[00:29:39] transition
[00:29:39] perfectly
[00:29:40] from
[00:29:41] one
[00:29:41] medium
[00:29:41] to
[00:29:41] the
[00:29:42] other
[00:29:42] but
[00:29:43] sound
[00:29:43] of
[00:29:44] the
[00:29:44] woman
[00:29:44] talking
[00:29:45] is
[00:29:45] screechy
[00:29:47] and
[00:29:47] piercing
[00:29:48] and
[00:29:49] everybody
[00:29:49] in the
[00:29:49] crowd
[00:29:50] is
[00:29:50] going
[00:29:50] wow
[00:29:51] he
[00:29:52] doesn't
[00:29:52] talk
[00:29:53] like
[00:29:53] that
[00:29:53] she
[00:29:53] didn't
[00:29:54] talk
[00:29:54] like
[00:29:54] that
[00:29:54] in
[00:29:54] the
[00:29:55] movies
[00:29:55] it
[00:29:55] just
[00:29:55] felt
[00:29:56] like
[00:29:57] it
[00:29:57] was
[00:29:58] written
[00:29:59] by
[00:29:59] a
[00:29:59] man
[00:30:00] who
[00:30:00] was
[00:30:00] going
[00:30:01] through
[00:30:02] difficulties
[00:30:02] at
[00:30:03] home
[00:30:03] with
[00:30:04] his
[00:30:04] wife
[00:30:05] and
[00:30:05] they
[00:30:05] wanted
[00:30:05] to
[00:30:05] find
[00:30:06] a
[00:30:06] way
[00:30:06] to
[00:30:07] oh
[00:30:08] that's
[00:30:08] funny
[00:30:09] I
[00:30:09] just
[00:30:10] had
[00:30:10] a
[00:30:10] thought
[00:30:10] in
[00:30:10] my
[00:30:10] head
[00:30:11] I
[00:30:11] was
[00:30:11] going
[00:30:11] to
[00:30:11] keep
[00:30:11] it
[00:30:11] to
[00:30:11] myself
[00:30:12] now
[00:30:15] but
[00:30:15] yeah
[00:30:16] I
[00:30:16] think
[00:30:16] that
[00:30:16] I've
[00:30:16] generally
[00:30:17] talked
[00:30:17] about
[00:30:17] all
[00:30:17] the
[00:30:18] negatives
[00:30:18] that
[00:30:18] I
[00:30:18] wanted
[00:30:22] sidebar
[00:30:22] if you're
[00:30:23] ready
[00:30:23] yeah
[00:30:24] ready
[00:30:24] let's do
[00:30:24] it
[00:30:25] overrule
[00:30:25] sidebar
[00:30:26] guilty
[00:30:26] speculation
[00:30:27] balef
[00:30:27] briefcase
[00:30:28] disregard
[00:30:28] in my
[00:30:29] chamber
[00:30:29] stop
[00:30:29] beaver
[00:30:29] on the
[00:30:30] witness
[00:30:30] arrest
[00:30:30] we could
[00:30:31] totally
[00:30:31] be lawyers
[00:30:31] all right
[00:30:33] so I
[00:30:34] think
[00:30:34] you
[00:30:34] mentioned
[00:30:34] the fact
[00:30:35] that
[00:30:35] the musical
[00:30:36] numbers
[00:30:36] are
[00:30:37] outstanding
[00:30:38] I
[00:30:39] totally
[00:30:39] agree
[00:30:40] with you
[00:30:40] on that
[00:30:40] I
[00:30:41] think
[00:30:42] the
[00:30:43] thing
[00:30:43] that
[00:30:43] is
[00:30:43] never
[00:30:44] I
[00:30:44] mean
[00:30:44] people
[00:30:45] talk
[00:30:45] about
[00:30:45] singing
[00:30:46] in
[00:30:46] the
[00:30:47] rain
[00:30:47] and
[00:30:47] they
[00:30:47] talk
[00:30:47] about
[00:30:47] the
[00:30:48] humor
[00:30:48] they
[00:30:48] talk
[00:30:48] about
[00:30:48] him
[00:30:49] when
[00:30:49] he
[00:30:49] was
[00:30:49] actually
[00:30:49] singing
[00:30:50] in
[00:30:50] the
[00:30:50] rain
[00:30:50] they
[00:30:51] talk
[00:30:51] about
[00:30:51] the
[00:30:51] technical
[00:30:52] prowess
[00:30:52] of the
[00:30:52] dancing
[00:30:53] but
[00:30:54] one
[00:30:54] of
[00:31:07] the
[00:31:08] movie
[00:31:08] theater
[00:31:09] as
[00:31:09] they
[00:31:09] opened
[00:31:09] the
[00:31:10] movie
[00:31:10] with
[00:31:11] the
[00:31:11] introduction
[00:31:12] with
[00:31:12] all
[00:31:13] the
[00:31:13] characters
[00:31:13] and
[00:31:14] the
[00:31:14] way
[00:31:14] the
[00:31:15] commentator
[00:31:15] was
[00:31:15] talking
[00:31:16] about
[00:31:16] every
[00:31:16] single
[00:31:16] person
[00:31:17] who
[00:31:17] was
[00:31:17] showing
[00:31:17] up
[00:31:18] that
[00:31:18] was
[00:31:19] humorous
[00:31:19] and
[00:31:20] then
[00:31:20] when
[00:31:20] we
[00:31:20] saw
[00:31:22] our
[00:31:23] main
[00:31:23] character
[00:31:24] Gene
[00:31:25] Kelly
[00:31:25] come in
[00:31:26] and
[00:31:27] they
[00:31:28] told him
[00:31:29] to tell
[00:31:29] him a story
[00:31:30] about
[00:31:31] our
[00:31:31] lives
[00:31:31] their
[00:31:32] lives
[00:31:32] and
[00:31:37] the
[00:31:37] you
[00:31:38] see
[00:31:39] the
[00:31:39] real
[00:31:39] life
[00:31:39] stuff
[00:31:39] happening
[00:31:40] in
[00:31:40] the
[00:31:40] video
[00:31:41] and
[00:31:41] you
[00:31:41] see
[00:31:41] what
[00:31:42] he
[00:31:42] is
[00:31:42] saying
[00:31:43] every
[00:31:43] single
[00:31:44] time
[00:31:44] I
[00:31:44] watch
[00:31:44] it
[00:31:44] I
[00:31:45] just
[00:31:45] can't
[00:31:45] stop
[00:31:46] laughing
[00:31:47] there
[00:31:48] was
[00:31:49] a song
[00:31:49] with
[00:31:49] Donald
[00:31:50] the
[00:31:50] corner
[00:31:52] where
[00:31:52] he
[00:31:52] was
[00:31:53] talking
[00:31:53] about
[00:31:53] make
[00:31:54] him
[00:31:54] laugh
[00:31:55] and
[00:31:55] I
[00:31:56] have
[00:31:56] seen
[00:31:56] this
[00:31:56] movie
[00:31:57] a
[00:31:57] number
[00:31:57] of
[00:31:57] times
[00:31:57] but
[00:31:58] every
[00:31:58] single
[00:31:58] time
[00:31:58] he
[00:31:58] does
[00:31:58] those
[00:31:59] sequences
[00:32:00] getting
[00:32:00] his
[00:32:01] head
[00:32:01] banged
[00:32:01] into
[00:32:02] the
[00:32:02] wood
[00:32:03] and
[00:32:03] then
[00:32:03] he
[00:32:04] does
[00:32:04] this
[00:32:04] elaborate
[00:32:05] thing
[00:32:05] where
[00:32:05] he
[00:32:05] runs
[00:32:06] up
[00:32:06] the
[00:32:06] wall
[00:32:06] and
[00:32:06] does
[00:32:07] a
[00:32:08] somersault
[00:32:09] and
[00:32:09] the
[00:32:10] final
[00:32:10] one
[00:32:10] he
[00:32:10] jumps
[00:32:11] through
[00:32:11] the
[00:32:11] wall
[00:32:11] I
[00:32:11] just
[00:32:12] can't
[00:32:12] stop
[00:32:12] laughing
[00:32:13] there
[00:32:13] it's
[00:32:14] almost
[00:32:14] like
[00:32:14] the
[00:32:15] song
[00:32:15] was
[00:32:15] created
[00:32:16] to
[00:32:16] make
[00:32:16] you
[00:32:32] the
[00:32:32] movie
[00:32:33] and
[00:32:33] the
[00:32:33] guy
[00:32:33] said
[00:32:34] this
[00:32:34] is
[00:32:34] the
[00:32:34] sound
[00:32:35] coming
[00:32:35] out
[00:32:36] of
[00:32:36] the
[00:32:37] movie
[00:32:37] this
[00:32:38] is
[00:32:38] the
[00:32:38] sound
[00:32:39] and
[00:32:39] I
[00:32:39] was
[00:32:39] like
[00:32:39] wow
[00:32:40] that
[00:32:40] is
[00:32:40] really
[00:32:41] cool
[00:32:41] and
[00:32:43] you
[00:32:43] know
[00:32:43] the
[00:32:43] interesting
[00:32:43] thing
[00:32:44] was
[00:32:44] the
[00:32:44] color
[00:32:44] of
[00:32:44] his
[00:32:44] teeth
[00:32:45] it
[00:32:46] was
[00:32:46] it
[00:32:46] was
[00:32:46] quite
[00:32:47] hilarious
[00:32:48] and
[00:32:49] obviously
[00:32:49] you're
[00:32:50] right
[00:32:50] the
[00:32:50] movie
[00:32:51] is
[00:32:51] just
[00:32:51] very
[00:32:52] joyous
[00:32:54] that
[00:32:56] there's
[00:32:56] never
[00:32:57] a
[00:32:57] time
[00:32:57] you
[00:32:57] watch
[00:32:58] this
[00:32:58] film
[00:32:58] that
[00:32:58] I
[00:32:58] don't
[00:32:59] feel
[00:32:59] better
[00:33:00] after
[00:33:00] I
[00:33:00] finish
[00:33:01] watching
[00:33:01] so
[00:33:02] kudos
[00:33:02] to
[00:33:03] this
[00:33:03] movie
[00:33:03] it's
[00:33:04] a
[00:33:04] lifetime
[00:33:04] classic
[00:33:05] I
[00:33:05] don't
[00:33:06] think
[00:33:07] I
[00:33:08] mean
[00:33:08] even
[00:33:08] with
[00:33:08] all
[00:33:09] the
[00:33:09] things
[00:33:09] that
[00:33:10] I
[00:33:10] mentioned
[00:33:10] about
[00:33:10] how
[00:33:11] we
[00:33:11] can
[00:33:11] the
[00:33:12] difficulties
[00:33:13] of
[00:33:13] Hollywood
[00:33:14] transitioning
[00:33:15] all of
[00:33:15] that
[00:33:16] stuff
[00:33:16] this
[00:33:16] movie
[00:33:17] I
[00:33:18] mean
[00:33:18] what
[00:33:18] is
[00:33:18] the
[00:33:18] point
[00:33:18] of
[00:33:18] a
[00:33:19] movie
[00:33:19] if
[00:33:19] it's
[00:33:19] not
[00:33:19] to
[00:33:20] fill
[00:33:20] you
[00:33:20] with
[00:33:21] emotion
[00:33:21] and
[00:33:21] if
[00:33:21] this
[00:33:22] one
[00:33:22] fills
[00:33:23] you
[00:33:23] with
[00:33:23] joy
[00:33:24] and
[00:33:25] makes
[00:33:25] you
[00:33:25] want
[00:33:25] to
[00:33:25] sing
[00:33:26] in
[00:33:26] the
[00:33:26] rain
[00:33:26] literally
[00:33:27] than
[00:33:27] I
[00:33:28] for
[00:33:29] it
[00:33:30] yeah
[00:33:30] yeah
[00:33:31] I
[00:33:31] think
[00:33:31] there's
[00:33:32] an
[00:33:33] inherent
[00:33:33] interesting
[00:33:34] conflict
[00:33:35] built into
[00:33:36] this
[00:33:37] transition
[00:33:37] which
[00:33:38] is why
[00:33:38] we're
[00:33:40] experiencing
[00:33:40] so many
[00:33:42] films that
[00:33:42] deal with
[00:33:43] it
[00:33:43] again
[00:33:44] more often
[00:33:45] not
[00:33:45] it's
[00:33:45] a
[00:33:46] female
[00:33:47] actor
[00:33:47] having
[00:33:48] issues
[00:33:48] with
[00:33:48] their
[00:33:49] transition
[00:33:49] which
[00:33:49] is
[00:33:50] bizarre
[00:33:50] to
[00:33:51] me
[00:33:53] but
[00:33:55] there's
[00:33:56] conflict
[00:33:56] right
[00:33:57] there
[00:33:57] right
[00:33:58] it's
[00:33:58] it's
[00:33:58] it's
[00:33:59] no longer
[00:33:59] just
[00:33:59] the
[00:33:59] looks
[00:34:00] honey
[00:34:00] it's
[00:34:01] also
[00:34:02] your
[00:34:02] voice
[00:34:02] and
[00:34:03] that's
[00:34:03] that's
[00:34:04] that's
[00:34:05] really
[00:34:05] fascinating
[00:34:05] in a way
[00:34:06] and
[00:34:06] and
[00:34:06] all
[00:34:07] that
[00:34:07] I
[00:34:07] do
[00:34:08] agree
[00:34:08] with
[00:34:08] you
[00:34:08] that
[00:34:09] the
[00:34:09] final
[00:34:10] musical
[00:34:10] number
[00:34:10] is
[00:34:11] very
[00:34:12] long
[00:34:12] and
[00:34:13] very
[00:34:14] repetitive
[00:34:15] and
[00:34:16] it's
[00:34:16] and
[00:34:17] I
[00:34:21] for
[00:34:21] make
[00:34:21] them
[00:34:22] laugh
[00:34:22] so
[00:34:23] it's
[00:34:23] almost
[00:34:24] like
[00:34:24] you
[00:34:25] hear
[00:34:25] that
[00:34:26] same
[00:34:26] line
[00:34:27] over
[00:34:27] and
[00:34:27] over
[00:34:28] and
[00:34:28] over
[00:34:28] and
[00:34:28] over
[00:34:28] again
[00:34:29] to
[00:34:30] the
[00:34:30] point
[00:34:30] where
[00:34:30] it
[00:34:31] gets
[00:34:31] kind
[00:34:32] of
[00:34:32] annoying
[00:34:32] but
[00:34:33] they're
[00:34:34] able
[00:34:34] to
[00:34:35] to be
[00:34:36] so
[00:34:36] flashy
[00:34:37] with
[00:34:37] the
[00:34:37] dance
[00:34:37] numbers
[00:34:37] and
[00:34:38] the
[00:34:38] sets
[00:34:38] and
[00:34:38] everything
[00:34:39] that
[00:34:39] it's
[00:34:40] forgiven
[00:34:40] in a
[00:34:41] way
[00:34:41] but
[00:34:42] it's
[00:34:42] also
[00:34:42] the
[00:34:42] thing
[00:34:43] that
[00:34:43] every
[00:34:44] time
[00:34:44] I'm
[00:34:45] seeing
[00:34:45] this
[00:34:45] it's
[00:34:45] like
[00:34:45] oh
[00:34:46] okay
[00:34:46] this
[00:34:46] is
[00:34:47] going
[00:34:47] on
[00:34:48] it's
[00:34:52] maybe
[00:34:52] that
[00:34:53] sequence
[00:34:54] we
[00:34:54] can
[00:34:55] I
[00:34:55] think
[00:34:55] that
[00:34:55] there's
[00:34:55] a
[00:34:56] gangster
[00:34:57] sequence
[00:34:57] where
[00:34:58] you know
[00:34:58] he's
[00:34:59] dancing
[00:34:59] with the
[00:35:00] gangster
[00:35:00] who
[00:35:01] falls
[00:35:01] in
[00:35:01] love
[00:35:01] with
[00:35:02] him
[00:35:02] but
[00:35:02] then
[00:35:02] the
[00:35:02] gangster
[00:35:03] provides
[00:35:03] her
[00:35:03] with
[00:35:03] a
[00:35:04] necklace
[00:35:04] and
[00:35:05] then
[00:35:05] she
[00:35:05] goes
[00:35:06] back
[00:35:06] to
[00:35:06] him
[00:35:06] and
[00:35:06] then
[00:35:07] later
[00:35:07] he
[00:35:08] sees
[00:35:08] her
[00:35:08] and
[00:35:09] all
[00:35:09] of
[00:35:09] a
[00:35:09] sudden
[00:35:09] just
[00:35:10] caught
[00:35:10] into
[00:35:10] this
[00:35:10] dream
[00:35:11] sequence
[00:35:11] where
[00:35:11] there's
[00:35:12] a
[00:35:12] woman
[00:35:12] with
[00:35:12] a
[00:35:13] garb
[00:35:13] around
[00:35:13] her
[00:35:21] what
[00:35:22] does
[00:35:23] that
[00:35:24] have
[00:35:24] to
[00:35:24] do
[00:35:24] with
[00:35:24] the
[00:35:25] film
[00:35:25] we're
[00:35:25] currently
[00:35:25] watching
[00:35:26] well
[00:35:27] nothing
[00:35:27] and
[00:35:27] that's
[00:35:28] kind
[00:35:28] of
[00:35:28] the
[00:35:28] problem
[00:35:28] that
[00:35:29] is
[00:35:29] when
[00:35:29] this
[00:35:30] film
[00:35:30] is
[00:35:30] most
[00:35:31] self
[00:35:31] indulgent
[00:35:32] because
[00:35:32] it's
[00:35:34] just
[00:35:34] a
[00:35:36] vision
[00:35:38] of
[00:35:38] somebody
[00:35:39] who's
[00:35:39] like
[00:35:39] we
[00:35:39] could
[00:35:39] do
[00:35:40] this
[00:35:40] in
[00:35:40] this
[00:35:40] film
[00:35:44] and
[00:35:49] then
[00:35:50] we
[00:35:51] that
[00:35:51] sounds
[00:35:51] good
[00:35:51] but
[00:35:51] way
[00:35:52] too
[00:35:52] complicated
[00:35:54] but
[00:35:54] you
[00:35:55] know
[00:35:56] okay
[00:35:57] that's
[00:35:57] fine
[00:35:58] there
[00:35:58] are
[00:35:59] some
[00:35:59] technical
[00:35:59] things
[00:35:59] that
[00:35:59] I
[00:36:00] think
[00:36:00] are
[00:36:00] very
[00:36:00] neat
[00:36:01] here
[00:36:02] and
[00:36:02] it's
[00:36:02] some
[00:36:02] of
[00:36:02] the
[00:36:02] transitions
[00:36:03] where
[00:36:04] they
[00:36:04] have
[00:36:04] key
[00:36:04] characters
[00:36:05] in
[00:36:05] the
[00:36:05] same
[00:36:05] place
[00:36:06] and
[00:36:06] then
[00:36:06] they
[00:36:06] fade
[00:36:07] in
[00:36:07] and
[00:36:07] out
[00:36:07] of
[00:36:08] these
[00:36:08] transitions
[00:36:08] I
[00:36:08] think
[00:36:09] that's
[00:36:09] pretty
[00:36:10] smart
[00:36:10] and
[00:36:11] well
[00:36:11] done
[00:36:12] and
[00:36:12] I
[00:36:13] don't
[00:36:13] think
[00:36:13] you've
[00:36:13] seen
[00:36:14] those
[00:36:14] kind
[00:36:14] of
[00:36:14] transitions
[00:36:15] a lot
[00:36:16] in
[00:36:16] the
[00:36:17] 50s
[00:36:17] and
[00:36:18] it's
[00:36:18] I mean
[00:36:18] it's
[00:36:19] kind
[00:36:19] of
[00:36:19] made
[00:36:20] famous
[00:36:20] in
[00:36:21] 2001
[00:36:22] space
[00:36:23] odyssey
[00:36:23] with
[00:36:23] the
[00:36:23] bone
[00:36:23] at
[00:36:24] the
[00:36:24] ship
[00:36:24] right
[00:36:24] kind
[00:36:25] of
[00:36:25] that
[00:36:25] that
[00:36:26] kind
[00:36:26] of
[00:36:26] thing
[00:36:26] only
[00:36:27] here
[00:36:27] it's
[00:36:27] a
[00:36:27] slower
[00:36:28] fade
[00:36:29] kind
[00:36:29] of
[00:36:29] but
[00:36:32] yeah
[00:36:32] overall
[00:36:33] great
[00:36:34] film
[00:36:34] like I
[00:36:35] said
[00:36:35] great
[00:36:35] performances
[00:36:36] the
[00:36:37] I
[00:36:38] forgot
[00:36:38] the
[00:36:38] oh
[00:36:39] is it
[00:36:40] singing
[00:36:40] in the
[00:36:40] rain
[00:36:40] when
[00:36:41] the
[00:36:41] three
[00:36:41] of
[00:36:41] them
[00:36:42] are
[00:36:43] doing
[00:36:43] the
[00:36:43] dance
[00:36:43] number
[00:36:44] in
[00:36:57] was
[00:36:57] singing
[00:36:58] out
[00:36:58] of
[00:36:58] nothing
[00:36:59] in
[00:37:00] their
[00:37:00] house
[00:37:03] it's
[00:37:04] ultimate
[00:37:04] like
[00:37:05] it's
[00:37:05] the
[00:37:05] ultimate
[00:37:06] like
[00:37:07] fever
[00:37:07] dream
[00:37:08] and
[00:37:09] I
[00:37:09] think
[00:37:09] the
[00:37:09] final
[00:37:10] dance
[00:37:10] number
[00:37:10] is
[00:37:10] such
[00:37:10] a
[00:37:10] fever
[00:37:11] dream
[00:37:11] too
[00:37:11] but
[00:37:11] it's
[00:37:13] very
[00:37:14] enjoyable
[00:37:14] so
[00:37:15] great
[00:37:15] film
[00:37:16] highly
[00:37:16] recommend
[00:37:16] I
[00:37:17] do
[00:37:18] feel
[00:37:18] like
[00:37:18] there's
[00:37:18] a lot
[00:37:19] of
[00:37:19] satisfaction
[00:37:19] with
[00:37:20] a lot
[00:37:20] of
[00:37:21] how
[00:37:21] the
[00:37:22] whole
[00:37:22] the
[00:37:24] movie
[00:37:24] played
[00:37:24] out
[00:37:26] just by
[00:37:27] the
[00:37:27] fact
[00:37:27] that
[00:37:27] we
[00:37:27] know
[00:37:27] that
[00:37:28] the
[00:37:28] main
[00:37:28] character
[00:37:28] is
[00:37:28] a
[00:37:29] person
[00:37:29] we
[00:37:30] still
[00:37:30] have
[00:37:31] he's
[00:37:31] still
[00:37:31] charming
[00:37:32] enough
[00:37:33] for us
[00:37:33] to
[00:37:34] root
[00:37:34] for
[00:37:35] him
[00:37:36] which
[00:37:37] is
[00:37:37] interesting
[00:37:39] I
[00:37:40] think
[00:37:40] generally
[00:37:40] it's
[00:37:41] because
[00:37:41] we
[00:37:41] know
[00:37:41] that
[00:37:42] he
[00:37:42] came
[00:37:42] from
[00:37:43] being
[00:37:43] poor
[00:37:44] and
[00:37:45] he
[00:37:45] rose
[00:37:46] to
[00:37:47] the
[00:37:47] top
[00:37:47] based
[00:37:47] on
[00:37:48] how
[00:37:49] well
[00:37:49] he
[00:37:49] did
[00:37:49] while
[00:37:50] he
[00:37:50] was
[00:37:50] actually
[00:37:50] in
[00:37:51] filming
[00:37:52] and
[00:37:52] I
[00:37:52] think
[00:37:52] the
[00:37:53] first
[00:37:53] stunt
[00:37:54] that
[00:37:54] he
[00:37:54] does
[00:37:55] I
[00:37:56] never
[00:37:57] actually
[00:37:57] talked
[00:37:57] about
[00:37:57] that
[00:37:58] stuff
[00:37:59] the
[00:37:59] stunts
[00:38:00] that
[00:38:00] he
[00:38:00] does
[00:38:01] when
[00:38:01] it
[00:38:01] punched
[00:38:02] him
[00:38:02] and
[00:38:02] he
[00:38:02] goes
[00:38:02] and
[00:38:03] he
[00:38:03] falls
[00:38:04] over
[00:38:04] the
[00:38:04] table
[00:38:05] and
[00:38:05] falls
[00:38:05] into
[00:38:06] the
[00:38:06] glass
[00:38:07] and
[00:38:07] we're
[00:38:07] like
[00:38:08] what
[00:38:08] do
[00:38:08] you
[00:38:08] want
[00:38:08] to
[00:38:09] do
[00:38:09] we have
[00:38:09] a whole
[00:38:10] bunch
[00:38:10] of chores
[00:38:10] for you
[00:38:11] and then
[00:38:11] he's
[00:38:12] flying through
[00:38:12] buildings
[00:38:13] with explosives
[00:38:13] running
[00:38:14] running
[00:38:14] to
[00:38:14] buildings
[00:38:15] that
[00:38:15] explode
[00:38:16] he's
[00:38:16] jumping
[00:38:17] over
[00:38:18] cliffs
[00:38:18] I
[00:38:19] was
[00:38:19] just
[00:38:20] laughing
[00:38:20] throughout
[00:38:20] the
[00:38:21] scenes
[00:38:21] but I
[00:38:22] think
[00:38:22] that
[00:38:22] those
[00:38:23] things
[00:38:23] kind
[00:38:24] of
[00:38:24] established
[00:38:24] that
[00:38:25] this
[00:38:25] guy
[00:38:25] is
[00:38:25] really
[00:38:26] working
[00:38:26] hard
[00:38:26] despite
[00:38:27] the
[00:38:27] fact
[00:38:28] that
[00:38:28] he's
[00:38:28] deceitful
[00:38:29] about
[00:38:29] his
[00:38:30] past
[00:38:30] and I
[00:38:31] think
[00:38:31] that
[00:38:31] kind
[00:38:31] of
[00:38:32] helps
[00:38:32] the
[00:38:33] audience
[00:38:33] root
[00:38:34] for
[00:38:34] him
[00:38:34] despite
[00:38:34] the
[00:38:35] fact
[00:38:35] that
[00:38:35] we
[00:38:36] literally
[00:38:36] know
[00:38:37] he's
[00:38:37] lied
[00:38:37] to
[00:38:37] us
[00:38:38] yeah
[00:38:39] yeah
[00:38:41] it's
[00:38:41] very
[00:38:42] enjoyable
[00:38:42] and
[00:38:43] it is
[00:38:45] Hollywood
[00:38:46] of the
[00:38:46] 50s
[00:38:47] at its
[00:38:47] best
[00:38:49] to be honest
[00:38:50] with you
[00:38:50] I think
[00:38:50] it should
[00:38:51] be higher
[00:38:52] on the
[00:38:52] list
[00:38:52] I
[00:38:53] don't
[00:38:53] know
[00:38:54] why
[00:38:54] it's
[00:38:54] at
[00:38:54] number
[00:38:55] 90
[00:38:56] 90
[00:38:57] we've
[00:38:58] seen
[00:38:58] some
[00:38:58] excellent
[00:38:58] films
[00:38:59] don't get
[00:39:00] me
[00:39:00] wrong
[00:39:00] 3DS
[00:39:01] is an
[00:39:02] excellent
[00:39:02] film
[00:39:02] but I
[00:39:03] still
[00:39:03] think
[00:39:04] that
[00:39:04] this
[00:39:04] movie
[00:39:04] is
[00:39:04] better
[00:39:04] than
[00:39:05] 3
[00:39:05] idiots
[00:39:05] you know
[00:39:07] oh
[00:39:08] I would
[00:39:08] even go
[00:39:09] further
[00:39:09] like
[00:39:10] of
[00:39:10] films
[00:39:11] of the
[00:39:11] same
[00:39:12] subject
[00:39:13] material
[00:39:13] this
[00:39:14] should
[00:39:14] swap
[00:39:15] places
[00:39:16] with
[00:39:16] modern
[00:39:16] times
[00:39:16] yes
[00:39:17] I
[00:39:18] agree
[00:39:18] with
[00:39:18] you
[00:39:18] I
[00:39:19] agree
[00:39:19] with
[00:39:20] you
[00:39:20] but
[00:39:20] I
[00:39:30] top
[00:39:31] 250
[00:39:31] films
[00:39:32] of
[00:39:32] all
[00:39:33] time
[00:39:33] it
[00:39:34] feels
[00:39:34] like
[00:39:36] it's
[00:39:37] taking
[00:39:38] the
[00:39:39] contemporary
[00:39:40] version
[00:39:41] of
[00:39:42] movies
[00:39:42] movies
[00:39:43] that
[00:39:43] we
[00:39:43] like
[00:39:43] in
[00:39:44] current
[00:39:44] times
[00:39:44] and
[00:39:46] then
[00:39:46] superseding
[00:39:47] that
[00:39:47] over
[00:39:48] movies
[00:39:48] that
[00:39:48] are
[00:39:49] genuinely
[00:39:49] good
[00:39:50] like
[00:39:51] I
[00:39:51] said
[00:39:51] you know
[00:39:52] Casablanca
[00:39:53] is in
[00:39:53] my
[00:39:53] top
[00:39:53] five
[00:39:54] films
[00:39:54] of
[00:39:54] all
[00:39:54] time
[00:39:55] like
[00:39:55] number
[00:39:56] 60
[00:39:57] 70
[00:39:57] I
[00:39:58] feel
[00:39:58] like
[00:39:58] that
[00:39:59] movie
[00:39:59] is
[00:39:59] way
[00:40:00] way
[00:40:01] down
[00:40:01] but
[00:40:02] when
[00:40:03] you
[00:40:03] have
[00:40:03] a
[00:40:03] movie
[00:40:05] that
[00:40:06] is
[00:40:06] very
[00:40:06] beloved
[00:40:07] in
[00:40:07] Italy
[00:40:10] and
[00:40:11] all
[00:40:11] of a
[00:40:11] sudden
[00:40:11] that
[00:40:11] one
[00:40:11] takes
[00:40:12] precedent
[00:40:12] over
[00:40:13] it
[00:40:13] it's
[00:40:13] kind
[00:40:13] of
[00:40:14] how
[00:40:15] I
[00:40:15] see
[00:40:15] it
[00:40:16] it's
[00:40:16] like
[00:40:16] this
[00:40:17] movie
[00:40:17] is
[00:40:17] not
[00:40:17] a
[00:40:18] reflection
[00:40:18] of
[00:40:22] yeah
[00:40:23] it's
[00:40:23] and
[00:40:24] again
[00:40:24] it's
[00:40:24] it's
[00:40:25] the
[00:40:25] perfect
[00:40:26] Hollywood
[00:40:27] fantasy
[00:40:29] like
[00:40:29] giving
[00:40:30] you the
[00:40:30] illusion
[00:40:31] that you
[00:40:31] see
[00:40:31] the
[00:40:31] inner
[00:40:32] workings
[00:40:32] of
[00:40:32] Hollywood
[00:40:32] but
[00:40:33] it's
[00:40:33] not
[00:40:34] at all
[00:40:34] true
[00:40:35] true
[00:40:36] that
[00:40:36] point
[00:40:37] too
[00:40:37] yeah
[00:40:37] yeah
[00:40:39] uh
[00:40:40] that's
[00:40:40] all I
[00:40:40] had
[00:40:41] that's
[00:40:41] all
[00:40:42] I
[00:40:42] have
[00:40:42] too
[00:40:43] surprisingly
[00:40:44] we
[00:40:45] seem
[00:40:45] to
[00:40:45] agree
[00:40:45] on
[00:40:46] that
[00:40:46] this
[00:40:46] movie
[00:40:47] is
[00:40:47] good
[00:40:47] yeah
[00:40:48] um
[00:40:49] I like
[00:40:50] that
[00:40:50] I like
[00:40:50] that
[00:40:51] I feel
[00:40:51] justified
[00:40:51] right
[00:40:52] yeah
[00:40:52] that's
[00:40:53] good
[00:40:53] that's
[00:40:53] good
[00:40:54] next
[00:40:54] film
[00:40:54] I
[00:40:54] have
[00:40:55] never
[00:40:55] heard
[00:40:55] of
[00:40:56] and
[00:40:57] I'm
[00:40:57] interested
[00:40:58] to
[00:40:58] see
[00:40:58] it
[00:40:59] Capernaum
[00:41:01] I've
[00:41:01] never
[00:41:01] heard
[00:41:02] of it
[00:41:02] too
[00:41:02] is it
[00:41:03] a new
[00:41:04] movie
[00:41:04] into
[00:41:04] this
[00:41:05] no
[00:41:06] 2018
[00:41:06] I think
[00:41:07] it's
[00:41:07] been
[00:41:07] known as
[00:41:08] for quite
[00:41:08] a while
[00:41:09] looks like
[00:41:09] a Lebanese
[00:41:10] film
[00:41:12] right
[00:41:12] well
[00:41:13] one of
[00:41:14] the joys
[00:41:14] of having
[00:41:15] this podcast
[00:41:15] is we
[00:41:16] get to
[00:41:16] explore
[00:41:17] movies
[00:41:17] from all
[00:41:17] over the
[00:41:18] world
[00:41:18] too
[00:41:19] yeah
[00:41:19] it's
[00:41:19] gonna be
[00:41:20] interesting
[00:41:20] right
[00:41:21] yeah
[00:41:21] so
[00:41:22] looking
[00:41:22] forward
[00:41:22] to that
[00:41:23] until
[00:41:23] we talk
[00:41:24] about
[00:41:24] that
[00:41:24] though
[00:41:25] where
[00:41:25] can
[00:41:25] people
[00:41:25] find
[00:41:26] us
[00:41:26] you can
[00:41:26] find
[00:41:27] us
[00:41:27] on
[00:41:27] Instagram
[00:41:27] they
[00:41:28] can
[00:41:28] find
[00:41:28] us
[00:41:29] on
[00:41:29] x
[00:41:29] on
[00:41:30] movie
[00:41:30] mistrial
[00:41:31] or
[00:41:31] you
[00:41:31] can
[00:41:31] send
[00:41:32] us
[00:41:32] an
[00:41:32] email
[00:41:32] to
[00:41:32] contact
[00:41:33] at
[00:41:33] movie
[00:41:34] mistrial
[00:41:34] com
[00:41:36] and
[00:41:37] great
[00:41:37] having
[00:41:38] a
[00:41:38] conversation
[00:41:38] with
[00:41:39] you
[00:41:39] folks
[00:41:40] make
[00:41:40] sure
[00:41:41] you
[00:41:41] live
[00:41:42] review
[00:41:42] and
[00:41:44] subscribe
[00:41:44] whenever
[00:41:45] you get
[00:41:45] an
[00:41:45] opportunity
[00:41:46] we've
[00:41:46] seen
[00:41:46] some
[00:41:46] good
[00:41:47] reviews
[00:41:47] we are
[00:41:48] rated
[00:41:48] five
[00:41:48] stars
[00:41:49] in
[00:41:49] some
[00:41:49] podcast
[00:41:52] locations
[00:41:52] so
[00:41:53] thank
[00:41:53] you very
[00:41:54] much
[00:41:54] for all
[00:41:54] those
[00:41:55] who
[00:41:55] reviewed
[00:41:55] us
[00:41:55] we
[00:41:56] want
[00:41:56] more
[00:41:57] we
[00:41:57] want
[00:41:57] to
[00:41:57] actually
[00:41:58] get
[00:41:59] more
[00:42:00] visibility
[00:42:00] so
[00:42:01] make
[00:42:02] sure
[00:42:02] you
[00:42:02] record
[00:42:02] and
[00:42:03] report
[00:42:04] and
[00:42:04] tell
[00:42:04] your
[00:42:04] friends
[00:42:05] about
[00:42:05] us
[00:42:05] yes
[00:42:08] tell
[00:42:10] us
[00:42:10] where
[00:42:10] we're
[00:42:11] right
[00:42:11] tell
[00:42:11] us
[00:42:11] where
[00:42:11] we're
[00:42:11] wrong
[00:42:12] tell
[00:42:13] us
[00:42:13] all
[00:42:13] the
[00:42:13] things
[00:42:15] have
[00:42:15] a
[00:42:16] wonderful
[00:42:16] rest
[00:42:16] of
[00:42:16] your
[00:42:16] day
[00:42:16] you
[00:42:17] too
[00:42:17] ciao