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    1940s

    Explore " 1940s" with insightful episodes like "Theodore Coneys: Denver Spider Man", "Arsenic and Old Lace", "Important Syphilis Stories: Florence Foster Jenkins with Jules Nurrish", "Whodunnit" and "Episode 26: Howdy Doody" from podcasts like ""Curator 135", "Movie of the Week", "A Breath Of Fresh Movie", "Dead Atlanta" and "Puppet Masters of None"" and more!

    Episodes (90)

    Theodore Coneys: Denver Spider Man

    Theodore Coneys: Denver Spider Man

    In the early 1940s, a well-liked man was brutally murdered in his home while his wife recovered from hip surgery in a nearby hospital. There were no signs of forced entry, plenty of cash around the home, and every door and window was locked from the inside. So who did it? And more importantly, where did the assailant go after the murder? 

    The house quickly gained the reputation of being haunted as neighbors noticed lights going on and off and the silhouette of a man being seen numerous times. 

    It would take Denver, Colorado detectives nearly 10 months to get to the bottom of it and when they did, they wished they hadn't. 

    Support the show

    Arsenic and Old Lace

    Arsenic and Old Lace

    This week, Mike and Will go old school with Arsenic and Old Lace starring Cary Grant and Priscilla Lane. This 1944 comedy/crime drama is set almost entirely in one location and is Mike's first time watching it. It's full of twists and turns, surprises, and some genuinely amazing dialogue. Join us as we dive into the 40s!

    Important Syphilis Stories: Florence Foster Jenkins with Jules Nurrish

    Important Syphilis Stories: Florence Foster Jenkins with Jules Nurrish

    2016 - the last year of the Obama administration, and the year of the ill-conceived GHOSTBUSTERS reboot -- the start of a highly upsetting time in America. It was also the year this week's film hit the theaters. This tone-deaf period piece lives up to the clumsiness of it's inspiration. 

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    Episode 26: Howdy Doody

    Episode 26: Howdy Doody

    Hey Kids! What time is it??? PUPPET MASTERS OF NONE REVIEW OF HOWDY DOODY! This week the PMoN gang did something that almost never happens. We sat down and watched a puppet show both Ben and Will had never seen. And boy was it...something.  Join us as we give our fresh-eyed take on one of the most famous children's television shows to ever grace the airwaves: The Howdy Doody Show. How will this black and white classic stack up to modern scrutiny and the space to carol spectrum? You'll just have to listen to find out!

    The Stranger & The Lady from Shanghai

    The Stranger & The Lady from Shanghai
    Light your cigs and scout the blotter: it's Noirvember, sugar bumps! This episode's pair of films, dedicated to one of classic Hollywood's richest legacies, celebrates the waning years of the legendary Orson Welles's time in the States with The Stranger and The Lady from Shanghai. But before we get lost in the shadows of postwar American ennui, our Blue Plate Special segment finds us diving ever so briefly back into the domain of bloody baboons with a discussion of the teaser trailer for Kingdom of the Planet of the Apes. We eventually trade in our computer generated fur for some proper money suits with a double feature of Welles noirs, one which subtly makes a case that fascism wasn't totally extinguished at the conclusion of the Second World War and another that stylishly crashes and burns with the intensity of a cinematic volcano. As always, please like, subscribe, rate, and review us on all of our channels, which include Apple Podcasts, Spotify, and YouTube! Contact us at huffmanbrothersproductions@gmail.com with your questions, comments, and requests.

    The Spruce Goose! Howard Hughes in Long Beach 1947

    The Spruce Goose! Howard Hughes in Long Beach 1947

    With a wingspan as wide as a football field, the Spruce Goose was the largest plane ever built.   The craft—designed by eccentric billionaire Howard Hughes and made out of wood—was intended for use in WWII, but the plane wasn't finished until after the war was already over.  Under intense pressure from the government to show results, and still recovering from a major crash of his own, Hughes took the Spruce Goose out for its one and only test flight in Long Beach harbor in November 1947.  Join us, won't you?  

    Rome, Open City • The Next Reel

    Rome, Open City • The Next Reel

    “We're fighting for something that has to be, that can't help coming. The road may be long and hard, but we'll get there and we'll see a better world. And our children especially will see it.”

    Rome Wasn't Built in a Day, But This Movie Sure Was

    Rome, Open City is adapted from a book of true stories about living through the Nazi occupation. Co-writer and director Roberto Rossellini took these tales of survival and wove them into a gripping drama about the Italian resistance. Filmed using non-professional actors and real Roman locations, the movie has a gritty, documentary feel. Join us – Pete Wright and Andy Nelson – as we conclude our series on the nominees of the 1947 Academy Awards for ‘Best Writing, Screenplay’ with Rossellini's iconic 1945 film Rome, Open City


    Reel Talk on Real Life

    We unpack this landmark of Italian neorealism that was filmed on the war-torn streets of Rome just months after the Nazi occupation ended. The filmmakers wanted to capture the rawness of life during wartime. Iconic scenes like Pina's death as she runs after the Nazi truck became cinematic landmarks. The movie birthed a whole movement in Italian neorealism.


    Women Navigating Impossible Choices
    Pina, played unforgettably by Anna Magnani, is the fiancée of resistance fighter Francesco. Her violent death scene is one of the film's most wrenching moments. Dancer Marina gets caught up spying for the Nazis in exchange for drugs and fur coats. We see how she becomes compromised and is discarded when no longer useful. German officer Ingrid manipulates Marina through addiction. She represents the female face of Nazi villainy and moral corruption.


    War's Impact on the Next Generation
    The tragedy of the film is how war devastates the lives of children like Pina's son and the street boys who witness Pietro's death. Yet the image of these boys resolutely marching back into the city provides a hopeful note that the youth may lead Italy to a better future.


    Enduring Classic Is Born
    Rome, Open City packs an emotional punch that holds up decades later. It's essential viewing for anyone interested in Italian cinema or World War II stories. This landmark film demonstrates how constraints can breed art and truth. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.


    Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!


    Film Sundries

    Learn more about supporting The Next Reel Film Podcast through your own membership.


    Rome, Open City • The Next Reel

    Rome, Open City • The Next Reel

    “We're fighting for something that has to be, that can't help coming. The road may be long and hard, but we'll get there and we'll see a better world. And our children especially will see it.”

    Rome Wasn't Built in a Day, But This Movie Sure Was

    Rome, Open City is adapted from a book of true stories about living through the Nazi occupation. Co-writer and director Roberto Rossellini took these tales of survival and wove them into a gripping drama about the Italian resistance. Filmed using non-professional actors and real Roman locations, the movie has a gritty, documentary feel. Join us – Pete Wright and Andy Nelson – as we conclude our series on the nominees of the 1947 Academy Awards for ‘Best Writing, Screenplay’ with Rossellini's iconic 1945 film Rome, Open City


    Reel Talk on Real Life

    We unpack this landmark of Italian neorealism that was filmed on the war-torn streets of Rome just months after the Nazi occupation ended. The filmmakers wanted to capture the rawness of life during wartime. Iconic scenes like Pina's death as she runs after the Nazi truck became cinematic landmarks. The movie birthed a whole movement in Italian neorealism.


    Women Navigating Impossible Choices
    Pina, played unforgettably by Anna Magnani, is the fiancée of resistance fighter Francesco. Her violent death scene is one of the film's most wrenching moments. Dancer Marina gets caught up spying for the Nazis in exchange for drugs and fur coats. We see how she becomes compromised and is discarded when no longer useful. German officer Ingrid manipulates Marina through addiction. She represents the female face of Nazi villainy and moral corruption.


    War's Impact on the Next Generation
    The tragedy of the film is how war devastates the lives of children like Pina's son and the street boys who witness Pietro's death. Yet the image of these boys resolutely marching back into the city provides a hopeful note that the youth may lead Italy to a better future.


    Enduring Classic Is Born
    Rome, Open City packs an emotional punch that holds up decades later. It's essential viewing for anyone interested in Italian cinema or World War II stories. This landmark film demonstrates how constraints can breed art and truth. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.


    Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!


    Film Sundries

    Learn more about supporting The Next Reel Film Podcast through your own membership.


    The Killers • The Next Reel

    The Killers • The Next Reel

    “I tell ya what’s gonna happen. We’re gonna kill a Swede.”

    The Killers: Dissecting a Landmark Noir

    Robert Siodmak’s 1946 crime drama The Killers earned four Oscar nominations at the 19th Academy Awards, including Best Director for Siodmak and Best Adapted Screenplay. The influential film noir also marked the screen debut of Hollywood legend Burt Lancaster. Join us – Pete Wright and Andy Nelson – as we continue our series on the 1947 Academy Award Best Writing, Screenplay nominees with an in-depth discussion about Siodmak’s 1946 film The Killers.


    Behind the Stylish Noir Lens

    Based on Ernest Hemingway’s 1927 short story, The Killers greatly expands the sparse source material into a complex, nonlinear narrative involving murder, robbery and betrayal. Director Siodmak utilizes creative camera angles and lighting techniques to craft a visually stunning noir landscape. Cinematographer Woody Bredell’s high-contrast, shadowy aesthetic defines the classic film noir look and feel. Lancaster shines in his first on-screen role as Ole “The Swede” Anderson, a washed-up boxer mixed up in a criminal underworld scheme. His powerful performance launched the charismatic new star to fame. Ava Gardner embodies the femme fatale archetype as the alluring but dangerous siren Kitty Collins.


    Standout Elements of This Influential Crime Drama

    • The opening 12 minutes closely follow Hemingway’s original story before transitioning into a complex, nonlinear narrative structure, utilizing flashbacks from multiple perspectives to unravel the central mystery.
    • We discuss the extended single-take heist scene, staged with incredible choreography and camerawork, as a prime example of Siodmak’s skilled direction.
    • Miklós Rózsa’s propulsive, jazz-inspired score sets the ominous, moody tone throughout the shadowy proceedings.
    • We debate whether splitting the protagonist role (the Swede) from the main character (the insurance investigator) dilutes the hard-boiled noir narrative.

    It’s a great film with much to dissect, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

    Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!

    Film Sundries

    Learn more about supporting The Next Reel Film Podcast through your own membership.


    The Killers • The Next Reel

    The Killers • The Next Reel

    “I tell ya what’s gonna happen. We’re gonna kill a Swede.”

    The Killers: Dissecting a Landmark Noir

    Robert Siodmak’s 1946 crime drama The Killers earned four Oscar nominations at the 19th Academy Awards, including Best Director for Siodmak and Best Adapted Screenplay. The influential film noir also marked the screen debut of Hollywood legend Burt Lancaster. Join us – Pete Wright and Andy Nelson – as we continue our series on the 1947 Academy Award Best Writing, Screenplay nominees with an in-depth discussion about Siodmak’s 1946 film The Killers.


    Behind the Stylish Noir Lens

    Based on Ernest Hemingway’s 1927 short story, The Killers greatly expands the sparse source material into a complex, nonlinear narrative involving murder, robbery and betrayal. Director Siodmak utilizes creative camera angles and lighting techniques to craft a visually stunning noir landscape. Cinematographer Woody Bredell’s high-contrast, shadowy aesthetic defines the classic film noir look and feel. Lancaster shines in his first on-screen role as Ole “The Swede” Anderson, a washed-up boxer mixed up in a criminal underworld scheme. His powerful performance launched the charismatic new star to fame. Ava Gardner embodies the femme fatale archetype as the alluring but dangerous siren Kitty Collins.


    Standout Elements of This Influential Crime Drama

    • The opening 12 minutes closely follow Hemingway’s original story before transitioning into a complex, nonlinear narrative structure, utilizing flashbacks from multiple perspectives to unravel the central mystery.
    • We discuss the extended single-take heist scene, staged with incredible choreography and camerawork, as a prime example of Siodmak’s skilled direction.
    • Miklós Rózsa’s propulsive, jazz-inspired score sets the ominous, moody tone throughout the shadowy proceedings.
    • We debate whether splitting the protagonist role (the Swede) from the main character (the insurance investigator) dilutes the hard-boiled noir narrative.

    It’s a great film with much to dissect, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

    Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!

    Film Sundries

    Learn more about supporting The Next Reel Film Podcast through your own membership.


    Brief Encounter • The Next Reel

    Brief Encounter • The Next Reel

    “This is my whole world, and it’s enough – or rather it was until a few weeks ago.”

    David Lean had already adapted Noël Coward three times for the silver screen by the time he set out to adapt Brief Encounter. Clearly, he connected with Coward’s material, and also proven himself adept at it. His last adaptation of Coward’s work is the one-act play “Still Life,” and with that he made a touching and heartbreaking movie – at least for some. Join us – Pete Wright and Andy Nelson – as we continue our 1947 Academy Award Best Writing Screenplay nominees series with Lean’s 1945 film Brief Encounter.


    Here’s a hint at what we talk about.
    We set things up with a bit of a chat about Coward and his plays, comparing him a bit to Neil Simon. This film’s an expanded version of the one-act so we discuss the changes and how it reshaped the story a bit. There’s a definite split in our conversation, as Pete struggles with the lack of consumating the relationship making things such a big deal for Laura and Alec. Andy connects with it more, while certainly acknowledging the characters’ struggles feel of the time and place. 


    From there, we talk character and our two leads – Celia Johnson and Trevor Howard, and spend a bit of time discussing the fabulous look throughout this film and what Lean brought to the table.


    We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


    Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!


    Film Sundries

    Learn more about supporting The Next Reel Film Podcast through your own membership.


    Brief Encounter • The Next Reel

    Brief Encounter • The Next Reel

    “This is my whole world, and it’s enough – or rather it was until a few weeks ago.”

    David Lean had already adapted Noël Coward three times for the silver screen by the time he set out to adapt Brief Encounter. Clearly, he connected with Coward’s material, and also proven himself adept at it. His last adaptation of Coward’s work is the one-act play “Still Life,” and with that he made a touching and heartbreaking movie – at least for some. Join us – Pete Wright and Andy Nelson – as we continue our 1947 Academy Award Best Writing Screenplay nominees series with Lean’s 1945 film Brief Encounter.


    Here’s a hint at what we talk about.
    We set things up with a bit of a chat about Coward and his plays, comparing him a bit to Neil Simon. This film’s an expanded version of the one-act so we discuss the changes and how it reshaped the story a bit. There’s a definite split in our conversation, as Pete struggles with the lack of consumating the relationship making things such a big deal for Laura and Alec. Andy connects with it more, while certainly acknowledging the characters’ struggles feel of the time and place. 


    From there, we talk character and our two leads – Celia Johnson and Trevor Howard, and spend a bit of time discussing the fabulous look throughout this film and what Lean brought to the table.


    We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


    Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!


    Film Sundries

    Learn more about supporting The Next Reel Film Podcast through your own membership.


    The Best Years of Our Lives • The Next Reel

    The Best Years of Our Lives • The Next Reel

    “Nobody’s job is safe with all these servicemen crowding in.”

    Struggles of All Types for Post-War Veterans

    The end of World War II brought a wave of veterans back to American society and an array of challenges as they tried to reintegrate and reconnect with family, friends, jobs and a society that struggled to fully understand their war experience. William Wyler’s 1946 multiple Oscar winner “The Best Years of Our Lives” tackles this subject with grace, nuance and warmth through the stories of three veterans returning to the fictional town of Boone City. Join us – Pete Wright and Andy Nelson – for an in-depth conversation about this magnificent film that details the post-war life of a trio of servicemen - each a different rank and from varied socioeconomic backgrounds - as they try to reestablish their lives and rediscover purpose with loved ones as we continue our 1947 Academy Award Best Writing Screenplay nominee series with a look at Wyler’s 1946 classic The Best Years of Our Lives.


    Here’s a hint at what we talk about:

    The film begins with our three protagonists – Fred, Al and Homer – meeting by chance on a flight home, immediately establishing the camaraderie and connection that comes from shared experience. However, their stories quickly diverge as each tries to reintegrate into society and reconnect with jobs, family and partners with varying degrees of success.


    Fred was a captain and bomber pilot but now finds himself unable to get a job despite his officer status. Al is a married sergeant and banker struggling with alcoholism and a family dynamic that shifted in his absence. Homer, who lost his hands in combat, worries that his girl won’t still love him with prosthetic hooks.


    The performances are extraordinary, led by Best Actor winner Fredric March along with Dana Andrews and real veteran and double Oscar winner Harold Russell in his film debut. The women – Myrna Loy, Teresa Wright, Cathy O’Donnell, and Virginia Mayo – each play their roles with nuance, rounding out the principal cast.


    Beyond the acting, William Wyler’s direction is exquisite, with cinematographer Gregg Toland delivering long, deep focus shots that enhance storytelling and emotion. It's a searing, humanistic look at the complexities of war's aftermath and the resilience of the human spirit.


    We unpack this layered, resonant story and Wyler’s masterful direction. It remains painfully relevant today and delivers a complex, poignant punch. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


    Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!


    Film Sundries

    Learn more about supporting The Next Reel Film Podcast through your own membership.


    The Best Years of Our Lives • The Next Reel

    The Best Years of Our Lives • The Next Reel

    “Nobody’s job is safe with all these servicemen crowding in.”

    Struggles of All Types for Post-War Veterans

    The end of World War II brought a wave of veterans back to American society and an array of challenges as they tried to reintegrate and reconnect with family, friends, jobs and a society that struggled to fully understand their war experience. William Wyler’s 1946 multiple Oscar winner “The Best Years of Our Lives” tackles this subject with grace, nuance and warmth through the stories of three veterans returning to the fictional town of Boone City. Join us – Pete Wright and Andy Nelson – for an in-depth conversation about this magnificent film that details the post-war life of a trio of servicemen - each a different rank and from varied socioeconomic backgrounds - as they try to reestablish their lives and rediscover purpose with loved ones as we continue our 1947 Academy Award Best Writing Screenplay nominee series with a look at Wyler’s 1946 classic The Best Years of Our Lives.


    Here’s a hint at what we talk about:

    The film begins with our three protagonists – Fred, Al and Homer – meeting by chance on a flight home, immediately establishing the camaraderie and connection that comes from shared experience. However, their stories quickly diverge as each tries to reintegrate into society and reconnect with jobs, family and partners with varying degrees of success.


    Fred was a captain and bomber pilot but now finds himself unable to get a job despite his officer status. Al is a married sergeant and banker struggling with alcoholism and a family dynamic that shifted in his absence. Homer, who lost his hands in combat, worries that his girl won’t still love him with prosthetic hooks.


    The performances are extraordinary, led by Best Actor winner Fredric March along with Dana Andrews and real veteran and double Oscar winner Harold Russell in his film debut. The women – Myrna Loy, Teresa Wright, Cathy O’Donnell, and Virginia Mayo – each play their roles with nuance, rounding out the principal cast.


    Beyond the acting, William Wyler’s direction is exquisite, with cinematographer Gregg Toland delivering long, deep focus shots that enhance storytelling and emotion. It's a searing, humanistic look at the complexities of war's aftermath and the resilience of the human spirit.


    We unpack this layered, resonant story and Wyler’s masterful direction. It remains painfully relevant today and delivers a complex, poignant punch. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


    Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!


    Film Sundries

    Learn more about supporting The Next Reel Film Podcast through your own membership.


    Dexter Moses, saxophonist, on the underappreciated influence of Don Byas (1913–1972) on swing and bebop

    Dexter Moses, saxophonist, on the underappreciated influence of Don Byas (1913–1972) on swing and bebop

    Dexter Moses is a saxophonist, composer, and educator in Durham. 

    In addition to his own group, the Dexter Moses Quartet/Quintet, the musician has performed and recorded with Branford Marsalis, Delfeayo Marsalis & the Uptown Jazz Orchestra, Joey Calderazzo, and Nneena Freelon, among others.

    A double alumnus from North Carolina Central University (NCCU), Dexter holds a bachelor’s in jazz studies and master’s in jazz composition and arranging. On Wednesdays, he hosts Evening Jazz at WNCU 90.7 FM, the university’s jazz radio station, from 8:00 to 11:00 p.m.

    On this episode, Dexter shares about: 

    • the life and legacy of the legendary saxophonist Dexter Gordon (to whom he dedicated his August show at the Sharp 9 Gallery in Durham);
    • how listening to a bootleg recording of saxophonist Don Byas and bassist Slam Stewart inspired his master’s thesis at NCCU, which argued that Byas should be named among the founding fathers of bebop alongside saxophonist Charlie Parker;
    • and negotiating the complexities of performing historic swing music today as a Black musician within the context of race and racism in the United States.

    Further reading: Dexter mentions the longest musicians’ strike and recording ban in entertainment history, which took place from 1942 to 1944. Learn more about “The Day the Music Stopped.

    Dexter joined Six Count the day after being a featured artist of the Wednesday jazz jam hosted by drummer Taha Arif at Hayti Collective Kitchen and Cocktails in Durham. You can find out more about the weekly event, which takes place from 8:30 to 11:30 p.m., by listening to Taha’s episode (published in April 2023). 

    Dexter teaches private lessons in saxophone, flute, and clarinet at the Russell Lacy Music school in Durham (and he’s accepting new students!).

    Episode art credit: Micah Haycraft

    Music credits

    This episode features a live recording of “The Change,” by the Dexter Moses Quartet.

    This season features the songs “Forged in Rhythm” and “Callous & Kind” by Keenan McKenzie & The Riffers (2017), used by Six Count with permission from the artist. 

    How to listen

    You can find Six Count on Apple Podcasts, Spotify, or any other listening app! The series also airs on taintradio.org, an online jazz radio station based in North Carolina, on Sundays at 6:00 p.m. and Fridays at 8:00 p.m. EST. 

    Support the show

    If you’d like to support Six Count, you can make a gift on DonorBox or Venmo @thexarawilde. Follow Six Count on Instagram at @sixcountpodcast and Xara Wilde on Facebook and Instagram @thexarawilde.

    Anna and the King of Siam • The Next Reel

    Anna and the King of Siam • The Next Reel

    “That king certainly hasn’t very good manners.”

    The Less-Singing, More Burnings Version

    Audiences have been fascinated with the life of Anna Leonowens and her time spent in Thailand (then Siam) teaching English to King Mongkut’s wives and children. What’s the draw though? Perhaps the story of a woman on her own in a foreign country? Or a common person who is swept up into a world of royalty and has the ear of a king. Hard to say, but it’s a fascinating story, even if it does feel one-sided. Join us – Pete Wright and Andy Nelson – as we kick off our 1947 Academy Award Best Writing, Screenplay nominee series with a conversation about John Cromwell’s 1946 film Anna and the King of Siam.


    Here’s a hint at what we talk about.

    The first hurdle with this film is the rough brownface that all the actors playing the people of Siam wear. Yes, it’s from the era – we acknowledge that. That doesn’t make it any easier to take. There are also all the other trappings that go along with this element – pidgin English, playing the characters as simpler people, etc. It’s frustrating. 


    Once you can get past that, there are still the story elements dealing with colonialism and the entire idea of a white woman (savior?) coming in to teach English to the children and wives of King Mongkut along with the British way so they can all act more civilized. It’s a struggle, but at the same time, teachers teach. She’s just doing her job, right? 


    Past all the struggles, there is the core of the story involving the complex relationship between Anna and King Mongkut. Irene Dunne and Rex Harrison are great in their roles, and we enjoy the back and forth that we get with them as they initially try to figure each other out and test each other, pushing boundaries, then eventually becoming trusted friends. 


    We discuss the other players, the story and how this iteration differs from other versions, how Cromwell directed it, the look of it, and more. There’s a lot to discuss with this one. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


    Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!


    Film Sundries

    Learn more about supporting The Next Reel Film Podcast through your own membership.


    Anna and the King of Siam • The Next Reel

    Anna and the King of Siam • The Next Reel

    “That king certainly hasn’t very good manners.”

    The Less-Singing, More Burnings Version

    Audiences have been fascinated with the life of Anna Leonowens and her time spent in Thailand (then Siam) teaching English to King Mongkut’s wives and children. What’s the draw though? Perhaps the story of a woman on her own in a foreign country? Or a common person who is swept up into a world of royalty and has the ear of a king. Hard to say, but it’s a fascinating story, even if it does feel one-sided. Join us – Pete Wright and Andy Nelson – as we kick off our 1947 Academy Award Best Writing, Screenplay nominee series with a conversation about John Cromwell’s 1946 film Anna and the King of Siam.


    Here’s a hint at what we talk about.

    The first hurdle with this film is the rough brownface that all the actors playing the people of Siam wear. Yes, it’s from the era – we acknowledge that. That doesn’t make it any easier to take. There are also all the other trappings that go along with this element – pidgin English, playing the characters as simpler people, etc. It’s frustrating. 


    Once you can get past that, there are still the story elements dealing with colonialism and the entire idea of a white woman (savior?) coming in to teach English to the children and wives of King Mongkut along with the British way so they can all act more civilized. It’s a struggle, but at the same time, teachers teach. She’s just doing her job, right? 


    Past all the struggles, there is the core of the story involving the complex relationship between Anna and King Mongkut. Irene Dunne and Rex Harrison are great in their roles, and we enjoy the back and forth that we get with them as they initially try to figure each other out and test each other, pushing boundaries, then eventually becoming trusted friends. 


    We discuss the other players, the story and how this iteration differs from other versions, how Cromwell directed it, the look of it, and more. There’s a lot to discuss with this one. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!


    Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!


    Film Sundries

    Learn more about supporting The Next Reel Film Podcast through your own membership.


    Barbenheimer

    Barbenheimer

    The moviegoing sensation that's taken over the nation has arrived...Barbenheimer. On July 21st, two of the most anticipated films of the year were released on the same day: Greta Gerwig's Barbie (2023) and Christopher Nolan's Oppenheimer (2023). Two of the most innovative directors of our time lead two incredible teams of cast and crew (both backed by husband-wife production companies) to deliver unforgettable viewing experiences. While these aren't Old Hollywood films, the two figures at the center of both stories emerged in time periods we frequently discuss, and it's amazing to see the public reexamine them now!  Emma and Jack discuss their their Barbenheimer impressions-- the order they watched them in, the logistics of watching them, first impressions, and more. Let us know your thoughts and feelings to THE summer theater event!

     

    *Emma apologizes for saying Hans instead of Hansel in reference to Zoolander (cringe face)

    Please Comment, Rate, and Share our episodes and tell us what you like and what you want to hear more of!

     

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