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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

02:01:42

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

There"s Sometimes a Buggy ·

2020/07/03

We get to the first Ozu in our Setsuko Hara Acteurist Oeuvre-view at last, but first we look at Tadashi Ima's two-parter, Blue Mountain Range/Aoi sanmyaku (1949), a surprisingly fun movie that leads us to discuss Allied Occupation liberal propaganda, dating as a recent invention, why all men will want to have sex with Katharine Hepburn or Setsuko Hara in the future, and how a geisha is like John Wayne. Then we dig into the great Late Spring (1949), finding connections to Our Town and Little Women to

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01:27:32

The Hollywood Studios, Year-By-Year – Universal, 1932...

There"s Sometimes a Buggy ·

2020/06/26

In this week's edition of The Studios Year-by-Year, it's Universal 1932, and we have two horror movies with wildly divergent styles. First, it's Robert Florey's Murders in the Rue Morgue, perhaps the sickest and most sadistic of the 30s Universal horror classics (surpassing even The Black Cat) and a probable influence on RKO's King Kong. Then it's John Stahl's Back Street (also shot by Karl Freund), based on the novel by noted feminist author and friend of the podcast Fannie Hurst, which we consider

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01:39:26

June Special Subject – Ritwik Ghatak’s Partition Trilogy

There"s Sometimes a Buggy ·

2020/06/19

For June's Special Subject, we look at three films by Bengali filmmaker Ritwik Ghatak about the aftermath of the Partition of India: Meghe Dhaka Tara/The Cloud-Capped Star (1960), Komal Gandhar/E-flat (1961), and Subarnarekha/Golden Lining (1962). Refugee life, classism, intersectional analysis, melodrama, the confusion of familial and romantic relationships, and the possibility of hope within a despairing worldview are a few of the topics that come up for discussion. Time Codes: 0h 01m 00s:

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01:15:23

The Hollywood Studios, Year-By-Year – RKO, 1932 –...

There"s Sometimes a Buggy ·

2020/06/12

RKO, 1932: Selznick has come in as production chief and fired everyone but Pandro S. Berman. We look at the result of this new regime in the form of two La Cava-helmed pictures. First, the white elephant, Symphony of Six Million, based on a short story by Fannie Hurst, shows us how RKO does the Lower East Side. Then, the termite, The Age of Consent, examines the sexual mores of American college life. Though it's probably not what you're thinking. Time Codes: 0h 01m 00s: Symphony of Six

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01:23:50

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

There"s Sometimes a Buggy ·

2020/06/05

In our final episode of “unknown” Setsuko Haras before we get into the Ozus and Naruses, we cover another tonally dissonant double feature, Kôzaburô Yoshimura's TEMPTATION/YUWAKU (1948) and Keisuke Kinoshita's HERE'S TO THE YOUNG LADY/OJOSAN KANPAI (1949). We discuss the way these films—a love triangle melodrama and a strange screwball melodrama seemingly inspired by Hepburn and Tracy movies—seem to be proleptically summarizing the Hara persona, even as they contradict it by putting the star in

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01:47:31

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

There"s Sometimes a Buggy ·

2020/05/29

In this Fox 1932 episode of Studios Year by Year, Fox Film Corporation finds its voice despite behind-the-scenes upheaval, and we offer the name “humanism” for that voice. Termite art classic For Me and My Gal (Raoul Walsh), a loose and leisurely proto-screwball comedy, stars Spencer Tracy and Joan Bennett as a pair of fresh-mouthed but tender-hearted working-class lovers. In Frank Borzage's After Tomorrow, an equally devoted but already engaged pair have their future threatened by selfish mothers

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01:20:05

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

There"s Sometimes a Buggy ·

2020/05/22

We devote some meta-theorizing to Setsuko Hara's screen persona and its reception and look at two of her lesser-known films that are available with English subtitles, Kōzaburō Yoshimura's A Ball at the Anjo House (1947), and the very uncharacteristic A Woman in the Typhoon Area (1948, directed by Hideo Ôba), in which she plays a vampy tramp who is nevertheless as caring as her more familiar characters. Then we discuss a couple of movies about isolated romance: Frank Capra's Lost Horizon and John

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01:23:13

Meltdown May Special Subject – Melville Français -...

There"s Sometimes a Buggy ·

2020/05/15

This week we talk French Melville—no, not Jean-Pierre, but two temperamentally polar 1999 films by French auteurs based on works by Herman: Claire Denis's Beau Travail and Leos Carax's Pola X, based respectively on Billy Budd, Sailor and Pierre, or the Ambiguities. We ask such questions as: Why fascist aesthetics? Why opera-scored Tai Chi? Why incest? Why unsimulated sex? These are just the kinds of questions that come up when you're dealing with adaptations of classic American literature of the

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01:59:30

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

There"s Sometimes a Buggy ·

2020/05/09

In this week's Studios Year by Year episode, another studio finds its voice in 1932: Warner Bros. gives us the consciousness-raising prison drama I Am a Fugitive from a Chain Gang (dir. Mervyn LeRoy) as well as the weird little maternity ward movie Life Begins (dir. James Flood). They share a harrowing vision of life and Glenda Farrell in uncharacteristically unsympathetic roles. We discuss I Am a Fugitive's indirect but manifest depiction of the chain gang system as a continuation of slavery and

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02:03:12

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

There"s Sometimes a Buggy ·

2020/05/02

In the inaugural episode of our Setsuko Hara Acteurist Oeuvre-view series, the vagaries of foreign film availability lead to an historically illuminating double feature. First up, the fascist propaganda film that made the teenage Setsuko a star, a Japanese-German co-production, melodrama/mountain film/semi-documentary extravaganza, The Daughter of the Samurai (1937), directed by Arnold Fanck and Mansaku Itami. Followed by Akira Kurosawa's No Regrets for Our Youth (1946), a celebration of the wartime

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03:01:45

Fear and Moviegoing in Toronto – Winter 2020: TIFF...

There"s Sometimes a Buggy ·

2020/04/25

It's time for an epic retrospective episode, sparked by TIFF's Call Me Jimmy: The Films of James Stewart, which was unfortunately interrupted by COVID-19. Nevertheless, we watched the remaining films at home, plus a few that weren't scheduled. Here we substantially discuss Clarence Brown's OF HUMAN HEARTS (1938), Frank Capra's MR. SMITH GOES TO WASHINGTON (1939), and Anthony Mann's THE NAKED SPUR (1953) and THE FAR COUNTRY (1954), and devote a paragraph or so to many others, including REAR WINDOW,

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01:26:22

The Hollywood Studios, Year-By-Year – MGM, 1932 – Red...

There"s Sometimes a Buggy ·

2020/04/17

Get excited about this one! In our MGM 1932 episode of The Studios Year by Year, the Culver City colossus hits its stride and proves that you don't need auteurs when you have scripts, directors, and stars. It's a Jean Harlow double feature, playing two wildly different characters in RED DUST (dir. Victor Fleming) and RED-HEADED WOMAN (dir. Jack Conway). In addition to Harlow, we discuss '30s screenwriters, Clark Gable's evolving persona, and MGM's vs. Warner Bros.' treatment of the sexual social

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01:36:53

Acteurist Oeuvre-View – Season 1 – Jennifer Jones:...

There"s Sometimes a Buggy ·

2020/04/10

It's a bittersweet episode as we bid farewell to our Jennifer Jones series with first viewings of her final two starring-role films, Henry King's TENDER IS THE NIGHT (1962) and Daniel Petrie's THE IDOL (1966). We find our heroine once again playing characters embroiled in dark Freudian psychodramas, and consider how King's film alters F. Scott Fitzgerald's alternate universe roman à clef, and whether or not Petrie's film deserves its obscurity. From saint to fallen (?) idol: our examination of

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01:19:15

The Hollywood Studios, Year-by-Year – Paramount, 1932...

There"s Sometimes a Buggy ·

2020/04/03

This time on The Studios Year by Year it's a rather unfair pairing of Lubitsch's (or Cukor's?) ONE HOUR WITH YOU with Mamoulian's LOVE ME TONIGHT. They have less in common than you'd think for both being operettas starring Maurice Chevalier and Jeanette MacDonald made by Paramount in 1932. Looking for something to lift your mood while you're waiting for quarantine to lift? We confirm with this viewing that LOVE ME TONIGHT is one of the most delightful and inventive movies of the 30s (or any decade)

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01:05:17

Acteurist Oeuvre-View – Season 1 – Jennifer Jones: A...

There"s Sometimes a Buggy ·

2020/03/27

In our penultimate Jennifer Jones episode, we consider whether Selznick's final production, A FAREWELL TO ARMS (1957), is Hemingway's vision of war or Selznick's, and contemplate Selznick as Auteur. Then we turn to THE BARRETTS OF WIMPOLE STREET (1957), which is not exactly the staid literary costume drama Elise was expecting. The Jones oeuvre continues to intrigue! Time Codes: 0h 01m 00s: A Farewell To Arms (1957; Dir: Charles Vidor; Prod: David O. Selznick) 0h 42m 40s: The

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02:05:19

Fear and Moviegoing in Toronto – Winter 2020: TIFF...

There"s Sometimes a Buggy ·

2020/03/21

For our first COVID-19-era Lightbox retrospective episode, we look at the enigmatic cinema of Angela Schanelec. We focus on her two most recent films, THE DREAMED PATH (2016) and I WAS AT HOME, BUT... (2019). Then, in our final, presciently-named Fear and Moviegoing in Toronto segment for “the duration”, it's the last Bressons of TIFF's anniversary retrospective that we were able to see (LANCELOT DU LAC, A GENTLE WOMAN, and his only (?) comedy, FOUR NIGHTS OF A DREAMER), plus we celebrate the

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01:53:34

The Hollywood Studios, Year-by-Year – Universal, 1931...

There"s Sometimes a Buggy ·

2020/03/14

Universal, 1931: we discuss one of the greatest movies of the 30s, James Whale's WATERLOO BRIDGE, and William Wyler's Oedipal horror movie, A HOUSE DIVIDED. And in our Moviegoing in Toronto section: erotic pedagogy in Jacqueline Audry's OLIVIA (1951), Christian anarchism in Frank Capra's YOU CAN'T TAKE IT WITH YOU (1938), and more Bresson. Time Codes: 0h 01m 00s: A House Divided (dir: William Wyler) 0h 29m 57s: Waterloo Bridge (dir. James Whale) 1h 03m 17s: Winter

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01:32:33

Acteurist Oeuvre-View – Season 1 – Jennifer Jones:...

There"s Sometimes a Buggy ·

2020/03/05

In this week's Jennifer Jones episode, we view our heroine in two new lights: as wife (in Nunnally Johnson's 1956 social problem epic, THE MAN IN THE GRAY FLANNEL SUIT) and spinster (in Henry Koster's GOOD MORNING, MISS DOVE 1955). Then, in our Moviegoing Section, we discuss Joseph Mankiewicz's THE GHOST & MRS. MUIR (1947) as the Hollywood Gertrud, along with Bresson and the pleasure of asceticism. Time Codes: 0h 01m 00s: The Man in the Gray Flannel Suit (1956; dir: Nunnally Johnson) 0h

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01:18:03

The Hollywood Studios, Year-By-Year – RKO, 1931 –...

There"s Sometimes a Buggy ·

2020/02/28

LONELY WIVES (dir. Russell Mack) meet KEPT HUSBANDS (dir. Lloyd Bacon) in our RKO 1931 episode of The Studios Year-by-Year. Edward Everett Horton sex farce or battle-of-the-sexes melodrama-played-for-farce—this one has got it all. And in our Moviegoing in Toronto section, a Mary Pickford and Clara Bow double feature has us thinking about feisty Victorian maidens and heroic modern gals. Time Codes: 0h 01m 00s: Kept Husbands (dir: Lloyd Bacon) 0h 29m 44s: Lonely Wives (dir. Russell

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01:15:27

Acteurist Oeuvre-View – Season 1 – Jennifer Jones:...

There"s Sometimes a Buggy ·

2020/02/21

This time on our Jennifer Jones ‘cast it's two movies based on novels by Communists, bafflingly made during the early Cold War era, one a failure and one a hit. We start with the failure, the original Dirtbag Left hang-out movie, John Huston's BEAT THE DEVIL (1953). It was based on a novel by Claud Cockburn (one-time Stalin apologist), with script contributions from Cockburn and a hot young novelist named Truman Capote. Then we turn to another critique of colonialism, Henry King's Love Is a

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