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PODCAST

There"s Sometimes a Buggy

Elise Moore and Dave

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

01:15:27

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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01:51:23

Valentine’s Day 2020 Special Subject – Valley Girl...

There"s Sometimes a Buggy ·

2020/02/14

What better befits a Valentine's episode than a couple of films about star-crossed lovers. First, it's punk (Nicholas Cage, in his first starring role) meets prep in Martha Coolidge's low-key, surprisingly affecting teensploitation cult classic VALLEY GIRL (1983). Then, John Travolta in his sex symbol prime drifts up on the beach of middle-aged one percenter Lily Tomlin in MOMENT BY MOMENT (1978), the only movie directed by Tomlin's partner and collaborator, Jane Wagner. We find out whether it's

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01:39:56

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

There"s Sometimes a Buggy ·

2020/02/07

Back to Borzage for Fox 1931 with the inaptly-titled BAD GIRL, plus Raoul Walsh's THE YELLOW TICKET. Deconstructed masculinity in Depression-era New York! Sex worker registries in czarist Russia! Boxing ring cuddles! Nude bathing in women's prisons! Lionel Barrymore chewing the scenery, James Dunn having male hysterics! This episode has got it all. And then Elise tries to suss out connections between I WALKED WITH A ZOMBIE (1943) and Maya Deren. Time Codes: 0h 01m 00s: Bad Girl (dir. Frank

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Revised Schedule! February 2020 to September 2020

There"s Sometimes a Buggy ·

2020/02/03

Greetings Friends! Here's our latest snapshot of the upcoming episodes (slight modification in May, as found another subtitled Setsuko Hara film!), with our August and September Fear and Moviegoing in Toronto retrospective talks still TBD, as the TIFF Summer program has yet to be revealed. Bon Cinema! February 7, 2020: Hollywood Studios Year-by-Year – Fox Film Corporation – 1931: BAD GIRL (dir. Frank Borzage) & THE YELLOW TICKET (dir. Raoul Walsh) February 14, 2020: Valentine’s Day 2020 Special

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02:02:39

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

There"s Sometimes a Buggy ·

2020/01/31

A transitional Jennifer Jones episode: from another summary of the Jones persona, King Vidor's RUBY GENTRY (1952), to a new era of filmmaking and a new kind of role in De Sica's TERMINAL STATION (1953). We give our verdict on the director's cut of the latter, the first time either of us has seen it. And in Moviegoing, Elise holds forth on PSYCHO and the Art of Hitchcock, and we briefly discuss Parajanov's THE COLOR OF POMEGRANATES and what's not funny about Lubitsch's THE SHOP AROUND THE CORNER.

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01:24:44

January Special Subject – The Alpha and Omega of...

There"s Sometimes a Buggy ·

2020/01/23

The alpha & omega of Josef von Sternberg's oeuvre, 1925's The SALVATION HUNTERS and 1953's ANATAHAN, prompt us to consider whether the stormy marriage of auteur and system can sometimes be more conducive to artistic accomplishment than creative independence. Then, prompted by recent moviegoing, we announce upcoming episodes/series on Ritwik Ghatak and Margaret Sullavan. Time Codes: 0h 01m 00s: The Salvation Hunters (1925) 0h 32m 39s: Anatahan (1953) 1h 01m 00s: Winter

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01:39:42

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

There"s Sometimes a Buggy ·

2020/01/17

This week, for Warners Bros. 1931: THE MALTESE FALCON (dir. Roy Del Ruth) and THE LAST FLIGHT (dir. William Dieterle). Warners is an early adopter of Dashiell Hammett, but is his least political novel a good fit for the most political studio, or not? And Dieterle, in his first English-language film, turns Warners into Paramount and tackles the Lost Generation, introducing themes that he'll continue to explore in his WWII films with Joseph Cotten. Then, in our Moviegoing section: we exchange thoughts

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01:43:31

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

There"s Sometimes a Buggy ·

2020/01/10

The masterpieces keep coming in our Jennifer Jones series. This week it's Powell and Pressburger's Gone to Earth (1950), a meta melodrama that clearly gave Kate Bush some ideas, and William Wyler's Carrie (1952), a noirish costume drama about the precariousness of the American middle class. Then we say farewell to TIFF's Scorsese retrospective with our Top 10s and discussion of MEAN STREETS and AFTER HOURS. Time Codes: 0h 01m 00s: Carrie (1952; dir. William Wyler) 0h 46m 24s: Gone

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02:08:38

Hollywood Studios, Year-by-Year – MGM, 1931:...

There"s Sometimes a Buggy ·

2020/01/03

In our first MGM 1931 episode, we look at two very different fallen woman movies, POSSESSED (dir. Clarence Brown), starring Joan Crawford and Clark Gable, and SUSAN LENOX (HER FALL AND RISE) (dir. Robert Z. Leonard), with Gable supporting (in the technical sense only) Greta Garbo. POSSESSED, taking cognizance of the Depression, leans as far left as MGM will ever get, while SUSAN LENOX shows us how patriarchy can be worse for men than it is for women—and sister, is it ever bad for women. Then we talk

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Revised 2020 Podcast Schedule

There"s Sometimes a Buggy ·

2020/01/01

Happy 2020, friends! Here’s our revised schedule for the first half of the new year (a little shifting around to accommodate the TIFF Cinemathèque showtimes). As always, if you're not sure where to find these items, just drop us a line at therebuggy@gmail.com. ++++ 2020 January 10, 2020: Acteurist Oeuvre-view - Jennifer Jones – Part 5: GONE TO EARTH (1950) and CARRIE (1952) January 17, 2020: Hollywood Studios Year-by-Year – Warner Brothers – 1931: THE LAST FLIGHT (dir. William Dieterle) & THE

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01:39:57

Christmas Special Subject 2019 – Four Daughters...

There"s Sometimes a Buggy ·

2019/12/24

In the first There's Sometimes a Buggy Christmas episode, we discuss two studio-era Hollywood movies that you never knew were Christmas movies: Michael Curtiz's FOUR DAUGHTERS (1938) and Preston Sturges's THE MIRACLE OF MORGAN'S CREEK (1944). Hear us explain how Four Daughters anticipates both Casablanca and Blue Velvet, and learn why Christianity is the ultimate comedy. Time Codes: 0h 01m 00s: Four Daughters (1938; dir. Michael Curtiz) 0h 46m 55s: Miracle of Morgan’s Creek (1944;

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02:48:36

Fear and Moviegoing in Toronto – Autumn 2019: TIFF...

There"s Sometimes a Buggy ·

2019/12/21

In our 2nd episode devoted to a TIFF retrospective, we cover News From Home: The Films of Chantal Akerman and share with you our excitement about a new favourite director. Topics that come up in the course of discussing Akerman's obsessional-yet-variegated filmography include Freud, mothers, the historico-geographic basis of identity, the nature of desire, passivity, projection, politics, Hitchcock, comedy, ghosts, gender. Films discussed in depth include NO HOME MOVIE, JEANNE DIELMAN, LA CAPTIVE,

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01:37:49

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

There"s Sometimes a Buggy ·

2019/12/13

On to 1931 and back to Paramount for a Sylvia Sidney double feature: a genre exercise from Mamoulian (CITY STREETS) and a finger exercise from Sternberg (AN AMERICAN TRAGEDY). We debate whether Sternberg's version serves or travesties Dreiser's novel, and whether it matters. Then, the return of Scorsese Corner to discuss TAXI DRIVER, RAGING BULL, and (Dave's favourite Scorsese movie) NEW YORK, NEW YORK. Start spreading the news. Time Codes: 0h 01m 00s: City Streets (dir. Rouben Mamoulian)

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01:21:50

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

There"s Sometimes a Buggy ·

2019/12/06

Jennifer Jones exhibits a new level of craft in two very different roles in two 1949 movies, WE WERE STRANGERS (dir. John Huston) and MADAME BOVARY (dir. Vincente Minnelli). Elise and Dave ponder how these movies, respectively daring for their revolutionary politics and gender politics, ever got made. Dave identifies the greatest scene in any movie ever. Elise tries to explain Flaubert's relationship to Romanticism, realism, aestheticism, and all other relevant isms. Time Codes: 0h 01m 00s:

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01:27:12

The Hollywood Studios, Year-by-Year – Universal, 1930...

There"s Sometimes a Buggy ·

2019/11/29

Our first Universal 1930 episode veers from racial insanity, courtesy of John Murray Anderson's two-strip Technicolor musical KING OF JAZZ (spoiler: the King is a White Man), to grisly Christian sentimentality, via William Wyler's HELL'S HEROES (aka Several Corpses and a Baby), which also makes this an accidental Christmas episode. If that's not enough, we also bring Big Discussion of Scorsese and Akerman! Time Codes: 0h 01m 00s: King of Jazz (dir. John Murray Anderson) 0h 30m 42s:

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01:59:18

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

There"s Sometimes a Buggy ·

2019/11/21

We have a conversion experience with DUEL IN THE SUN (King Vidor, 1946) and return to PORTRAIT OF JENNIE (William Dieterle, 1948). Are these the two definitive Jennifer Jones movies? The best movies she made? The best movies that Selznick produced? We consider these questions as we continue to ponder the unfolding of Jones's persona. We also set up our Scorsese Corner and begin our floating discussion of the current TIFF retrospective with our first-impression reading of THE IRISHMAN. Elise opines

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01:45:01

Fear and Moviegoing in Toronto – Autumn 2019:...

There"s Sometimes a Buggy ·

2019/11/15

We look at the first three films of Li Yu, FISH AND ELEPHANT (2001), DAM STREET (2005), and LOST IN BEIJING (2007), the latter seen by us at the TIFF Cinematheque retrospective Seeing the Unseen: Re-Encountering Chinese Cinema, which focused on films by Sixth Generation directors that had trouble with government censorship in China. It's not difficult to see how the Verhoeven-meets-Renoir-esque LOST IN BEIJING got into this category. Trigger warnings for extensive discussion of violence against

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01:24:47

The Hollywood Studios, Year-by-Year – RKO, 1930 –...

There"s Sometimes a Buggy ·

2019/11/08

This week sees Elise fully convert to the studi-auteur theory, thanks to two more-or-less randomly chosen RKO features from 1930 by a couple of Georges, MIDNIGHT MYSTERY (B. Seitz, later of Andy Hardy movie fame) and THE SILVER HORDE (Archainbaud, who went on to direct the other Some Like It Hot... with Bob Hope), which illustrates the expanded romantic plot possibilities of the Pre-Code era. Also some discussion of Jean Arthur's struggle, in an early appearance, to portray a supercilious socialite

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Revised Schedule - November 2019 to May 2020

There"s Sometimes a Buggy ·

2019/11/02

Hello! Last night, your humble hosts stopped being smart alecks and started thinking. The result: a projected episode list that extends to May 2020! We've also made our decisions re: our November and December episodes of Fear and Moviegoing in Toronto. Tell a cinephilic friend! +++ November 8: Hollywood Studios Year-By-Year – RKO, 1930: MIDNIGHT MYSTERY (dir. George B. Seitz) & THE SILVER HORDE (dir. George Archainbaud) November 15: Fear & Moviegoing in Toronto – Li Yu– inspired by TIFF’s “Seeing

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01:21:01

Halloween Special Subject: Dracula (1931) and Bram...

There"s Sometimes a Buggy ·

2019/10/31

Our first Halloween special looks at a monster for whom familiarity has bred unjustified contempt. Looking at Tod Browning's 1931 DRACULA and Francis Ford Coppola's misleadingly-titled BRAM STOKER'S DRACULA from 1992, we discuss the Cursed Count as a romantic and a sympathetic figure; the two films' departures from Bram Stoker's novel; xenophobia and monstrousness; their very different takes on Van Helsing; their problematic fascination with female sexuality; and Dwight Frye's unforgettable

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