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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

01:25:27

Special Subject - Daniel Day-Lewis Acteur...

There"s Sometimes a Buggy ·

2020/11/20

A proleptic episode in which we anticipate our future Acteurist Oeuvre-view of the career of (retired) Greatest Living Actor, Sir Daniel Day-Lewis. The foretaste comes in the form of two films in which Day-Lewis plays men willing to do anything to preserve a vision that ultimately comes down to taste, and inspires homicidal impulses in the women who love him: Phantom Thread (2017), written and directed by Paul Thomas Anderson, and The Ballad of Jack and Rose (2005), written and directed by Lady

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01:13:41

The Hollywood Studios, Year-By-Year – Warner...

There"s Sometimes a Buggy ·

2020/11/13

For our Warner Bros. 1934 episode, two tragicomic movies in which Aline MacMahon plays a lovable small business owner with man problems: Side Streets, directed by Alfred E. Green, and Heat Lightning, directed by Mervyn LeRoy. The latter in particular, we conclude, could only have been made by Warner Bros., and gives us the best and the worst of that studio on gender. Bonus: it's also an Ann Dvorak double-feature. Time Codes: 0h 01m 00s: Side Streets (dir: Alfred E. Green) 0h 41m 06s: Heat Lightning

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01:21:17

Acteurist Oeuvre-View – Season 2 – Setsuko Hara: Late...

There"s Sometimes a Buggy ·

2020/11/06

Our penultimate Setsuko Hara Acteurist Oeuvre-view episode sees us examining Ozu's antepenultimate and penultimate films, Late Autumn (1960) and The End of Summer (1961), in both of which she plays a character named Akiko. We then launch into an extended consideration of the meaning of her Noriko/Akiko character in Ozu's films, including a discussion of the effect of Hara's absence on Ozu's final film, An Autumn Afternoon (1962), an “alternate universe” reprise of Late Spring. We revisit the most

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02:03:14

Halloween Special Subject: Ominous Omnibi - Flesh and...

There"s Sometimes a Buggy ·

2020/10/30

We went long for our Hallowe’en Special Subject for 2020: Ominous Omnibi, featuring two eerie anthology films of the 1940s, Universal's star-studded Flesh and Fantasy, directed by Julien Duvivier during his WWII Hollywood sojourn, and Ealing Studios' Dead of Night, best remembered for its crowning tale, The Ventriloquist's Dummy, starring Michael Redgrave as a man in an agitated relationship with a prop. After warming up with some Robert Benchley and Oscar Wilde talk, we dig into Dead of Night and

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01:10:46

The Hollywood Studios, Year-By-Year – MGM, 1934 – The...

There"s Sometimes a Buggy ·

2020/10/23

MGM, 1934, and our most mismatched pair of films yet: Sidney Franklin's tale of overheated Victorian repression, The Barretts of Wimpole Street, and Lubitsch's lavish, Hollywood-transposed Austro-Hungarian operetta, The Merry Widow. We discuss Laughton vs. Gielgud, Lubitsch vs. Mamoulian, innuendo in the Year of the Code, and more. Time Codes: 0h 01m 00s: The Barretts of Wimpole Street (dir: Sidney Franklin) 0h 38m 00s: The Merry Widow (dir: Ernst Lubitsch) +++ * Check out our Complete Upcoming

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01:24:17

Acteurist Oeuvre-View – Season 2 – Setsuko Hara:...

There"s Sometimes a Buggy ·

2020/10/16

On this Acteurist Oeuvre-view Setsuko Hara episode: a tight, noirish family melodrama by Ozu, Tokyo Twilight (1957), paired with a loose, sprawling family melodrama by Naruse, Daughters, Wives and a Mother (1960). The first gives us the bitterest Hara we've seen since The Idiot, while the second challenges her persona in subtler ways. Vacuum cleaners have never been sexier, nor peeing dogs more tragic. Time Codes: 0h 01m 00s: Tokyo Twilight (dir: Yasujiro Ozu) 0h 48m 20s: Daughters, Wives and a

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01:32:39

The Hollywood Studios, Year-By-Year – Paramount, 1934...

There"s Sometimes a Buggy ·

2020/10/09

A new year, 1934, and our first studio, Paramount, shows its ability with satire and sympathy for the underdog. It's the Year of the Code, but that doesn't seem to have much applicability to our two films, Cecil B. DeMille's feminist jungle adventure comedy Four Frightened People and Mitchell Leisen's occasionally noirish revenge drama, Behold My Wife! Warning : If you don't want to hear a couple of semi-informed white people talk with qualified admiration about a couple of racially problematic (but

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01:03:55

Acteurist Oeuvre-View – Season 2 – Setsuko Hara: The...

There"s Sometimes a Buggy ·

2020/10/02

In this Setsuko Hara Acteurist Oeuvre-view, two films by Mikio Naruse, The Sound of the Mountain (1954) and Sudden Rain (1956). We discuss the ways that the casting of Setsuko Hara in the first film seems to respond to Ozu's "Noriko trilogy" (especially Tokyo Story, although it was released only two months later), and the overt feminism of the subtle, comic, and ambiguous Sudden Rain. Hara, as usual, gives two very different performances as two very different unhappy wives. Time Codes: 0h 01m 00s:

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01:09:39

The Hollywood Studios, Year-By-Year – Universal, 1933...

There"s Sometimes a Buggy ·

2020/09/25

Universal, 1933: Two little-known James Whale Pre-Codes that adopt divergent attitudes toward adulterous wives. First, treated as farce, in By Candlelight: Paul Lukas plays a butler who gets himself in trouble by masquerading as his playboy boss in order to have more refined erotic adventures. Then, treated as tragedy, in The Kiss Before the Mirror: Frank Morgan and Nancy Carroll get themselves in trouble by becoming fixated on their deceptive mirror images. Also discussed: Code censorship of

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02:30:45

Special Subject: Barbara Stanwyck & Frank Capra -...

There"s Sometimes a Buggy ·

2020/09/18

This week we've got a big one for you: the five films that Frank Capra and Barbara Stanwyck made together. Starting with LADIES OF LEISURE (1930), we interpret the Stanwyck character as the Capra stand-in, which leads to some interesting results. MEET JOHN DOE (1941) becomes LADIES OF LEISURE inverted (Stanwyck as artist, Cooper as model—but Stanwyck as stand-in either way); while MIRACLE WOMAN (1931) also foreshadows MEET JOHN DOE, this time with Stanwyck as Jane Doe. FORBIDDEN (1932) and BITTER

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01:18:04

The Hollywood Studios, Year-By-Year – RKO, 1933 –...

There"s Sometimes a Buggy ·

2020/09/11

RKO 1933: We look at a movie starring one of the hottest female stars of the day, Constance Bennett, George Cukor's Our Betters, and a movie starring an up-and-coming (and down, and up, and down again) RKO star, Katharine Hepburn, Lowell Sherman's Morning Glory. Elise deems both Hepburn's frantically vulnerable performance and Cukor's unsentimental sex comedy “punk rock.” We decide that Our Betters is The Women without Norma Shearer's plotline, and all the better for it. Spotted: Gilbert Roland as

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01:35:37

Special Subject - Back To School 2020 - Loser (2000)...

There"s Sometimes a Buggy ·

2020/09/04

A strange back-to-school episode for a strange back-to-school year: we look at Amy Heckerling's LOSER (2000) and Whit Stillman's DAMSELS IN DISTRESS (2011), two comedies with very different, but equally dark, visions of class and university life in America, neither of which fared well with audiences or critics at the time. Dave defends the former as a blending of Capra and Wilder romantic comedy modes, while Elise makes the case for the latter as “a perfect movie”—maybe even “the only perfect

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01:21:57

Acteurist Oeuvre-View – Season 2 – Setsuko Hara:...

There"s Sometimes a Buggy ·

2020/08/28

This episode of our Acteurist Oeuvre-view of Setsuko Hara (with English subs) features our first Naruse, REPAST (1951), and the movie generally considered “Ozu's masterpiece” (as if there were only one), TOKYO STORY (1953). We debate whether REPAST is housewife propaganda or the STARSHIP TROOPERS of domestic reunion dramas, and ask whether a cat can be like a husband, or a husband like a cat. Then we dig into TOKYO STORY, comparing it to the more comedic EARLY SUMMER, and trying to get a handle on

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01:21:37

The Hollywood Studios, Year-By-Year – Fox Film...

There"s Sometimes a Buggy ·

2020/08/21

Fox, 1933: we watch a couple of movies that complicate Ethan Mordden's characterization of Fox as “The Rube,” Henry King's State Fair and William (billed as Wilhelm) Dieterle's The Devil's in Love (both beautifully shot by Hal Mohr). The first is a sophisticated movie about simple people that doesn't make fun of them or take unsophistication as its ideal, while the second is Fox's attempt at a Sternberg movie, a Foreign Legion quadrangle with a strange climactic twist. Find out how Fox makes

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01:45:36

Critical Special Subject - Elizabeth Kendall's The...

There"s Sometimes a Buggy ·

2020/08/14

Our August Special Subject is one of Dave's favourite film books, Elizabeth Kendall's The Runaway Bride: Hollywood Romantic Comedy of the 1930s. We discuss Kendall's vision of romantic comedy from this era (it's powered by an auteur/acteur synergy between erstwhile “gag man” directors and a new type of female star) and consider how each of the films she discusses fits her thesis (or fails to). We also take extended looks at two Frank Capra comedies that receive chapters in the book: It Happened One

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01:45:46

The Hollywood Studios, Year-By-Year – Warner...

There"s Sometimes a Buggy ·

2020/08/07

Prepare for Pre-Code shenanigans galore! In our Warner Bros. 1933 Studios Year-By-Year episode, the socialist studio shows us capitalism at its nastiest and sexiest. In Baby Face and Employees' Entrance, Barbara Stanwyck and Warren William, respectively, “crush” and “smash” in the name of surviving and triumphing in the capitalist system, and make it a lot of fun to watch—that is, when William isn't attacking passed-out women. We learn that Dave has no compassion for either bank or department store

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01:27:01

Acteurist Oeuvre-View – Season 2 – Setsuko Hara: The...

There"s Sometimes a Buggy ·

2020/07/31

This time on our oeuvre-view of Setsuko Hara's (English-subtitled) career, Kurosawa's The Idiot/Hakuchi, based on Dostoevsky, is paired with Ozu's Early Summer for maximum tonal dissonance. Our heroine proves her range again—even with her Noriko roles. Join us for a discussion of sexual psychosis and tragic caritas in The Idiot and the perverse obsession with normalizing Noriko in Early Summer. Time Codes: 0h 01m 00s: The Idiot (1951) [dir: Akira Kurosawa] 0h 38m 22s: Early Summer (1951)

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01:42:35

The Hollywood Studios, Year-By-Year – MGM, 1933 –...

There"s Sometimes a Buggy ·

2020/07/24

MGM, 1933. Two very different movies: Penthouse, a crime drama and romantic comedy directed by W. S. “One-Take Woody” Van Dyke, and King Vidor's hard-to-find The Stranger's Return, an agrarian family melodrama reputed to have been Ozu's favourite movie. Myrna Loy, as an unflappable and lovable party girl, with her Thin Man director and producer for the first time, and an uncharacteristically relaxed Miriam Hopkins as a city girl who becomes the actual and spiritual heir of Lionel Barrymore's estate

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01:40:44

Summer Special Subject – Summer with Monika (1953) &...

There"s Sometimes a Buggy ·

2020/07/17

Summer comes even to a virus-ravaged northern hemisphere, and we're here to celebrate with two teen movies that have a surprising amount in common: Ingmar Bergman's Summer with Monika (1953) and Delmer Daves' A Summer Place (1959). The former turns out to be much less about sex than its reputation would have you believe, while the latter is much more about sex than you'd imagine for a movie starring Troy Donahue and Sandra Dee. Grease got it all wrong! Discussed: Harriet Andersson's granny panties,

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01:30:45

The Hollywood Studios, Year-By-Year – Paramount, 1933...

There"s Sometimes a Buggy ·

2020/07/10

Paramount, 1933 (or so): a Charles Laughton and Karl Struss double feature. We start with Cecil B. DeMille's The Sign of the Cross, pitting piety against perversion. Fredric March in a mini skirt, Claudette Colbert in a milk bath, Laughton as a ditzy Nero, and a bunch of Christians bedecked with arrows. But are the Christians really Communists, or are they Mormons? Next, Island of Lost Souls, based on H.G. Wells' The Island of Dr. Moreau. What is the metaphor? (D)evolution or (r)evolution? It's men

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