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PODCAST

There"s Sometimes a Buggy

Join Dave and Elise every week for a buggy-ride of cinematic exploration. A bilingual Montreal native and a Prairies hayseed gravitate to Toronto for the film culture, meet on OK Cupid, and spur on each other"s movie-love, culminating in this podcast. Expect in-depth discussion of their old favourites (mostly studio-era Hollywood) and their latest frontiers (courtesy of the TIFF Cinematheque and various Toronto rep houses and festivals). The podcast will be comprised of several potentially

tv & film philosophy

All Episodes

01:43:26

Acteurist oeuvre-view – Daniel Day-Lewis – Part 7:...

There"s Sometimes a Buggy ·

2022/05/13

At last we come to the Daniel Day-Lewis perhaps best known to cinephiles: the over-the-top monstrous patriarchs of Martin Scorsese's Gangs of New York (2002) and Paul Thomas Anderson's There Will Be Blood (2007). Working from a couple of the best viewings we've personally had of these movies, we discuss how Bill the Butcher and Daniel Plainview build upon the Day-Lewis persona, how they radically depart from it, and how they set the stage for future developments. If you've ever been embarrassed by

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01:46:42

Hollywood Studios Year-by-Year – RKO – 1939: BACHELOR...

There"s Sometimes a Buggy ·

2022/05/06

For our RKO 1939 episode, a Directed by Garson Kanin double feature: Bachelor Mother, starring Ginger Rogers as an unwed department store clerk accused of motherhood; and The Great Man Votes, starring John Barrymore as an alcoholic intellectual struggling to raise two children, including the most precocious child actor of them all, Virginia Weidler (of Philadelphia Story fame). We discuss the "plausible deniability" structure of Bachelor Mother and the kind of social commentary it permits, and the

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01:19:37

Acteurist oeuvre-view – Daniel Day-Lewis – Part 6:...

There"s Sometimes a Buggy ·

2022/04/29

We return to our Daniel Day-Lewis Acteurist Oeuvre-view with 1996's The Crucible (directed by Nicholas Hytner with a screenplay by Arthur Miller, based on his 1953 play) and 1997's The Boxer, reuniting Day-Lewis with writer-director Jim Sheridan and writer Terry George from In the Name of the Father and returning to the subject of Northern Ireland and the Troubles. We discuss the ways in which The Crucible serves as a liberal allegory for McCarthyism and its depiction of the jouissance of hysteria

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01:28:58

April Special Subject – Sex, Satire and American...

There"s Sometimes a Buggy ·

2022/04/22

This week's Special Subject takes a look at Sex, Satire, and American Culture in Frank Tashlin's Artists and Models (1955), starring Jerry Lewis, Dean Martin, Shirley MacLaine, and Dorothy Malone, and in Billy Wilder's Kiss Me, Stupid (1964), starring Dean Martin, Kim Novak, Ray Walston, and Felicia Farr. Tashlin uses comic books to portray American culture as a strangely sexless-yet-sex-obsessed idiot savant with an exuberantly violent imagination, while Wilder turns smut in a small town into an

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54:53

Hollywood Studios Year-by-Year – 20th Century Fox –...

There"s Sometimes a Buggy ·

2022/04/15

Fox, 1939: the Greater and the Lesser John Ford Fox movies of 1939, Young Mr. Lincoln, and Drums Along the Mohawk, both starring Henry Fonda. We argue with Cahiers du Cinéma about the politics of Young Mr. Lincoln and find continuities between Ford's work with Will Rogers and his presentation of Lincoln, and discuss Edna May Oliver's comic theft of an otherwise pretty standard, racist settler narrative. Time Codes: 0h 01m 00s: YOUNG MR. LINCOLN [dir. John Ford] 0h 35m 00s:

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01:35:49

Acteurist oeuvre-view – Daniel Day-Lewis – Part 5: IN...

There"s Sometimes a Buggy ·

2022/04/08

In this Daniel Day-Lewis Acteurist Oeuvre-view episode we look at two movies from 1993: Jim Sheridan's In the Name of the Father, about mid-70s English-Irish relations, anti-terrorist hysteria, and father-son relationships; and The Age of Innocence, Martin Scorsese's adaptation of Edith Wharton's novel about social mores in New York at the end of the 19th century. We discuss Scorsese's layered examination of romantic love and gender roles, and why Wharton's novel is ideal Scorsese source material;

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01:33:46

Hollywood Studios Year-by-Year – Warner Brothers –...

There"s Sometimes a Buggy ·

2022/04/01

Warner Brothers, 1939: this is a big one, a double feature of Dave Faves, The Roaring Twenties, directed by Raoul Walsh and starring James Cagney and Priscilla Lane (among others), and Dust Be My Destiny, directed by Lewis Seiler and starring John Garfield and Priscilla Lane again. We take the opportunity to contrast Cagney and Garfield, Warners' characteristic "proletarian" male stars of the early 30s and late 30s respectively, teasing out what they mean for the evolving American Left. Then, the

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01:01:17

Acteurist oeuvre-view – Daniel Day-Lewis – Part 4:...

There"s Sometimes a Buggy ·

2022/03/25

In this episode of our Daniel Day-Lewis Acteurist Oeuvre-view, we go from the depths of obscurity, the straight-to-video Eversmile, New Jersey (1989, directed by Carlos Sorin), to the heights of box office success, with Day-Lewis's first, and only, Hollywood action movie, The Last of the Mohicans (1992, directed by Michael Mann).We praise the hilarious slice of madness that is Eversmile, New Jersey, in which Day-Lewis plays a quixotic missionary for "dental consciousness" in Patagonia, arguing that

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01:19:17

Hollywood Studios Year-by-Year – MGM – 1939: BABES IN...

There"s Sometimes a Buggy ·

2022/03/18

MGM, 1939: the beginning of an era, as the Freed Unit gets started with the first Mickey Rooney and Judy Garland musical, Babes in Arms (directed by Busby Berkeley), and the end of an era, with Tod Browning's last film, the supernaturally tinged locked room mystery and bid for B-seriesdom, Miracles for Sale. Reflecting on the role of the blackface number in Babes in Arms prompts us to take a deep dive into the relationship of race to the concept of "American entertainment," and then at the end of

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01:33:50

March Special Subject – Henry James Book Club – THE...

There"s Sometimes a Buggy ·

2022/03/11

In this Book Club edition of the podcast, we finally have a chance to explore the work of Friend of the Pod Henry James. We look at James's short novel Washington Square (1880) and long short story "The Turn of the Screw" (1898), and two of their adaptations, The Heiress (1949, directed by William Wyler) and The Innocents (1961, directed by Jack Clayton). We focus on the arcs of the heroines in the two works and the very different directions in which the adaptations take them, as well as the acting

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01:24:20

Hollywood Studios Year-by-Year – Paramount – 1939:...

There"s Sometimes a Buggy ·

2022/03/06

We start off 1939 with a bang with two Paramount movies that gave us a lot to discuss. First, Cafe Society (directed by Edward H. Griffith), the first of several pairings of Fred MacMurray with early Hitchcock blonde Madeleine Carroll, with an original screenplay by future Columbia Pictures producer Virginia Van Upp, takes the screwball (for the most part) out of class-conscious 30s romantic comedy, replacing it with a high degree of sexual tension and, especially, an unusual focus on the moral

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51:33

Acteurist oeuvre-view – Daniel Day-Lewis – Part 3:...

There"s Sometimes a Buggy ·

2022/02/25

In this week's Acteurist Oeuvre-view, we're still in the early stages of Daniel Day-Lewis's career, and once again the utterly obscure (Pat O'Connor's quirky comedy Stars and Bars (1988)) is paired with a much better-known film (Jim Sheridan's My Left Foot (1989), based on the life of disabled writer and painter Christy Brown). We discuss Stars and Bars' attempt to achieve a tone like Scorsese's After Hours, and why it wouldn't be the same if Hugh Grant were playing Day-Lewis's part. Then we move

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01:02:13

Hollywood Studios Year-by-Year – Universal – 1938:...

There"s Sometimes a Buggy ·

2022/02/18

For this Universal 1938 episode, we begin by again discussing the relationship between comedy, tragedy, and horror, courtesy of John M. Stahl's Letter of Introduction, featuring famed ventriloquist Edgar Bergen and his alter ego, Charlie McCarthy. Edgar rises and Adolphe Menjou falls in a kind of Tolstoyan double plot. Then we watch as Universal's new banker overlords do their best to launch another young female star with the initials DD. French actress Danielle Darrieux (later of Max Ophüls

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01:27:50

Valentine’s Day 2022 - Special Subject – With Love...

There"s Sometimes a Buggy ·

2022/02/11

For our Valentine's Day 2022 episode, we examine Leos Carax's unique take on romantic love, from the adolescent autocritique of Boy Meets Girl (1984) to the anarchy and ecstasy of Les amants du Pont-Neuf (1991) to the abyss-gazing of his mind-boggling musical, Annette (2021). We discuss Carax's repeated association of love with abjection; his critique of the artist; and the many links between comedy, violence, and puppets. Time Codes: 0h 01m 00s: Boy Meets Girl (1984) [dir. Leos Carax] 0h 28m

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01:16:35

Hollywood Studios Year-by-Year – RKO – 1938:...

There"s Sometimes a Buggy ·

2022/02/04

For RKO 1938, a Ginger Rogers double feature: Having Wonderful Time (directed by Alfred Santell - and George Stevens?), based on the play by Arthur Kober (the ex-Mr. Lillian Hellman), and Vivacious Lady (definitely directed by George Stevens), one of the best Hollywood comedies of the 1930s, but not one of the best known. We discuss the consequences of the de-ethnicizing of Kober's play; Stevens' audacity as a comedic stylist; Rogers' all-around comic genius; Jimmy Stewart's particular brilliance in

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52:35

Acteurist oeuvre-view – Daniel Day-Lewis – Part 2:...

There"s Sometimes a Buggy ·

2022/01/28

Our second Daniel Day-Lewis Acteurist Oeuvre-view introduces us to the little-known, but very worthy, Nanou (1986), Conny Templeman's first and seemingly only feature, which we liked enough to discuss it in detail even though Day-Lewis's part is very minor. We draw comparisons between the film and Joanna Hogg's The Souvenir, and between Day-Lewis's part in it and Ben Stiller's in Reality Bites. Then we move on to Philip Kaufman's The Unbearable Lightness of Being (1988) – in which Day-Lewis plays a

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47:22

Hollywood Studios Year-by-Year – 20th Century-Fox –...

There"s Sometimes a Buggy ·

2022/01/21

In this 20th Century-Fox 1938 episode we look at two Tyrone Power-starring historical disaster spectacles, Suez (directed by Allan Dwan), about the construction of the Suez Canal and various sorts of post-Napoleonic idealism, and In Old Chicago (directed by Henry King), a heavily fictionalized account of how Mrs. O'Leary's cow started the Great Chicago Fire of 1871. Dave and Elise respectively take up the films' causes, while agreeing that they each make a hash of history. Time Codes: 0h 01m 00s:

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01:25:04

Special Subject – Anna Magnani Sampler, Part 1 - ROME...

There"s Sometimes a Buggy ·

2022/01/14

In Part 1 of our Anna Magnani Sampler, we explore a range of the legendary Italian actress's modes and moods: from the neorealism of Rossellini's Rome, Open City (1945) to the postmodernism of Renoir's The Golden Coach (1952); from a working-class mother's tragi-comic attempt to make her daughter into a neorealist child star in Visconti's Bellissima (1951) to an ex-prostitute's tragi-heroic attempt to keep history from repeating itself with her equally stymied and frustrated sister in

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01:07:42

Acteurist oeuvre-view – Season Five - Daniel...

There"s Sometimes a Buggy ·

2022/01/07

Our Daniel Day-Lewis Acteurist Oeuvre-view gets started with the two 1985 films that established his range, giving a naturalistic portrayal of a working-class youth in the one and a caricature of an upper-class aesthete in the other: Stephen Frears' My Beautiful Laundrette, Hanif Kureishi's Oscar-nominated dark comedy about race, class, and sexuality in Thatcher-era England, and Merchant-Ivory's A Room With a View, Ruth Prawer Jhabvala's Oscar-winning adaptation of E. M. Forster's romantic comedy of

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01:24:20

Hollywood Studios Year-by-Year – Warner Brothers –...

There"s Sometimes a Buggy ·

2021/12/31

It's 1938 and Warner Bros. is in its prime, and so is Bette Davis, just now moving into the kind of top-quality romantic melodramas in which she'd excel. No longer the studio of James Cagney, Joan Blondell, gangster heroes and Busby Berkeley spectacles, it's now the studio of Bette Davis, Errol Flynn, glossy melodramas and action-adventure heroes; or at least, these stars and genres are co-existing with Cagney, Robinson, John Garfield, and soon, Humphrey Bogart vehicles. Warners is broadening its

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