The Next Reel Film Podcast

Toward the end of Grant’s acting career, he had stopped playing the romantic interest, concerned how his age reflected in the on-screen relationships, particularly with younger women. After this point, he only played a romantic interest one last time, and it was opposite Audrey Hepburn in Charade. Even then, he felt so uncomfortable with it that director Stanley Donen had the script changed to allow for it to be a conversation point between their characters and to have Hepburn’s character be the pursuer. And clearly it worked for them as well as for audiences then and now. Join us – Pete Wright and Andy Nelson – as we wrap up our Cary Grant series with Donen’s 1963 film Charade. We talk about why this film has such charm and works so well as ‘the best Hitchcock film Hitchcock never made.’ We look at the genres it mixes and answer the question – does it have too many twists and turns? We talk about Grant and Hepburn and what they bring to the table, as well as Walter Matthau, James Coburn, George Kennedy and Ned Glass. We chat about Henry Mancini’s fantastic score and magical song he wrote with Johnny Mercer. And we explore the world of philately, particularly as it centers on the three stamps featured in this film.It’s a glorious ride of a film that’s a thrill to watch over and over. We have a great time talking about it on the show this week, 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 SundriesThank you for supporting The Next Reel Film Podcast on Patreon!Watch this film: iTunes • Amazon • [Netflix][netflix] • [Hulu][hulu] • YouTubeScript TranscriptOriginal theatrical trailerOriginal poster artworkFlickchartLetterboxdSupport The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

"I’m an advertising man, not a red herring.”When it came time to cast the lead for his new film North by Northwest, Alfred Hitchcock found himself in a pickle. He had already discussed the film with James Stewart, the star of the film he just wrapped up – Vertigo – and Stewart wanted the role. Hitchcock had another actor he’d worked with in mind – Cary Grant. Too embarrassed to tell Stewart that, Hitchcock had to put off the filming of the movie until Stewart was locked in with his next film before he told him. That way, Stewart would be forced to turn it down due to his prior commitments and Hitchcock could go along and cast Grant, the actor he’d wanted from the start. Join us – Pete Wright and Andy Nelson – as we continue our Cary Grant series with Hitchcock’s 1959 film North by Northwest. We talk about why this film works so well and how it’s such a strong representative of the ‘wrongfully accused man on the run’ trope. We chat about the actors Hitchcock cast in the film with Grant – Eva Marie Saint, James Mason, Martin Landau, and more – and what they bring to the table. We look at how well constructed the film is, from the largely quiet crop duster scene to the climax hanging from the edges of Mt. Rushmore. And we chat about Robert Burks’ cinematography, Robert Boyle’s production design, and of course Bernard Herrmann’s score and how they contributed to the picture.It’s a top notch thrill ride and we have a great time talking about it on this week’s show. 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 SundriesThank you for supporting The Next Reel Film Podcast on Patreon!Watch this film: iTunes • Amazon • YouTubeScript TranscriptOriginal theatrical trailerOriginal poster artworkFlickchartLetterboxdHooked on Houses — North by NorthwestSupport The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

"That man’s an imposter, and if he came here to be buried in our cellar, he’s mistaken!”Cary Grant was cast and ready to play the lead in the film adaptation of The Man Who Came to Dinner, but people were so upset that Monty Wooley wouldn’t be continuing the part he had created that the studio ousted Grant for Wooley. That left a hole in Grant’s schedule. He knew Frank Capra was busy casting for his new film, an adaptation of the Broadway hit Arsenic and Old Lace, and he knew that Ronald Reagan and Jack Benny had both turned the lead role down, so he told Capra he was interested and available. Capra was thrilled, and they set to work. Join us – Pete Wright and Andy Nelson – as we kick off our Cary Grant series with his Capra 1944 comedy, Arsenic and Old Lace. We talk about Grant and why at times, his big, over-the-top performance may be a bit too much (it was even too much for the actor who hated his own performance here). We look at the rest of the cast, both those who came over from the stage show and those cast in Hollywood, and chat about what they bring to the film. We look at why Capra jumped into this film and why it took so long to make it to the big screen. And we chat about Sol Polito’s cinematography and Max Steiner’s music, and why they both work well in context of the film.It’s a fun and funny film that is a broad type of comedy that definitely works more for some than others. We have a great time talking about it on the show this week, 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 SundriesThank you for supporting The Next Reel Film Podcast on Patreon!Watch this film: iTunes • Amazon • YouTubeScript TranscriptOriginal theatrical trailerOriginal poster artwork’Arsenic and Old Lace’ — play by Joseph KesselringFlickchartLetterboxdSupport The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

"Maybe you're a penguin, Tim, but Julie's not a penguin. She's a lioness. Don't try to mate a lioness with a penguin. Ever.”Aside from a few dips onto other genres, Jay Roach generally sticks with comedies, and seems to fare well when he's doing big, broad ones. Take the Austin Power films, or perhaps Meet the Fockers. With such a strong curriculum vitae in comedy films, having him direct a remake of Francis Veber's Le Dîner de Cons looks great on paper. But when it comes time to write, make, and release the movie, does it hold up as well? Join us – Pete Wright and Andy Nelson – as we wrap up our Francis Veber and His Remakes series with the remake of his 1998 film Le Dîner de Cons with Roach's 2010 film Dinner for Schmucks. We talk about the general vibe that this remake feels so American, and what that means to the farce in the translation. We look at the construction of the characters and why we preferred them in the original. We chat about comedy beats that worked really well for us and gave us a sense of the Roach we were wanting. We discuss the nature of Veber's films and why they seem so translatable. We talk about the actors, notably Paul Rudd and Steve Carell, but also Bruce Greenwood, Octavia Spencer, Stéphanie Szostak, Zach Galifianakis, Jemaine Clement, Lucy Punch, and more. We touch on Theodore Shapiro's always great comedy score. And we touch on the title and how it compares to the original.It's an interesting concept for a film that doesn't hold up to the original, but it still allows for a great conversation. 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 SundriesThank you for supporting The Next Reel Film Podcast on Patreon!Watch this film: iTunes • Amazon • Netflix • YouTubeScript TranscriptOriginal theatrical trailerOriginal poster artworkFlickchartLetterboxdSupport The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

"I don't have an idiot yet! I'm panicked!”Francis Veber had written plays, TV shows, and films. He had also directed plenty of well by the time he decided to adapt his hit play "Le Dîner de Cons" for the big screen. Luckily, his brand of farcical humor worked brilliantly with the film version, and it became a huge hit in his home country of France. Join us – Pete Wright and Andy Nelson – as we continue our Francis Veber & His Remakes series with his 1998 film Le Dîner de Cons. We talk about why the farcical humor in this film works so well for us. We look at the brilliant performance of Jacques Villeret as Pignon and why he works so well in the role. We chat about the trick of translating this title to English and how some of the comedy itself doesn't really translate. We look at the other performances in the film and why they work so well We touch on the look and music and how well they serve the story. And we chat about the film's success and why it likely was a hard one to translate to English. We had a blast with this film and have a great time talking about it. Check it out then tune in to this week's episode! 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 SundriesThank you for supporting The Next Reel Film Podcast on Patreon!Watch this film: iTunes (Fr) • AmazonOriginal theatrical trailerOriginal poster artworkFlickchartLetterboxdSupport The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

When Mike Nichols and Elaine May teamed up again for the first time in over thirty years, it was to adapt Francis Veber's most famous and celebrated works, the 1978 film La Cage aux Folles. Veber's films had been remade in English before — in fact, he'd directed a number of them — but this one was the big one so it needed to be big. But would it work with an American audience in the 90s? Join us — Pete Wright and Andy Nelson — as we continue our Francis Veber and his remakes series with Nichols' 1996 film The Birdcage. We talk about the nature of comedy films and the experience of seeing them in theatres versus home alone, and how this one holds up when watched with an audience of one. We look at the transition from Saint-Tropez to Miami and why it works, especially with Bob Dole's moral majority. We chat about our struggles with Dan Futterman's character (and Futterman himself) and why he feels so much more selfish in this film than in the original – and what that does to the story. We praise Robin Williams, Nathan Lane, Gene Hackman, Dianne Wiest, Hank Azaria, and Christine Baranski effusively, and compare the writing by May and direction by Nichols for these characters as compared to Futterman and Calista Flockhart. And we chat about Stephen Sondheim and old songs of his repurposed for this film. It's a fun romp of a film that holds up about as well as the original. We have a great time talking about it on this week's show, 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 SundriesThank you for supporting The Next Reel Film Podcast on Patreon!Watch this film: iTunes • Amazon • YouTubeScript TranscriptOriginal theatrical trailerOriginal poster artworkFlickchartLetterboxdSupport The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

When asked to adapt the hit stage show "La Cage Aux Folles" to the big screen, director Édouard Molinaro knew he had to get comedy writer/director Francis Veber involved to not only get the story out of the one-set show and open up the world, but also — and more importantly — to flesh out the core relationship so the film wasn't just all stereotypes. Veber did his work, and with Molinaro's direction, became a huge hit in France. Join us – Pete Wright and Andy Nelson – as we kick off a short series looking at French writer/director Francis Veber and his remakes, starting with Molinaro's 1978 comedy La Cage Aux Folles. We talk about the tone of the film – a broad, farcical comedy – and debate how the caricatures and stereotypes play throughout. Are they too much? Are they okay? We ponder the difficulties for Molinaro of dealing with actors Ugo Tognazzi and Michel Serrault and how they made getting the film made that much more difficult. We discuss the relationship the film has to the period in which it was made as well as the location in which it's set – Saint-Tropez – and how not knowing the connections may affect ones viewing. And we chat about some of the people behind the technical aspects, including composer Ennio Morricone.It's a fun film that works because of the small, honest moments and we have a great time talking about it on this week's show. 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 SundriesThank you for supporting The Next Reel Film Podcast on Patreon!Watch this film: iTunes • Amazon • YouTubeOriginal theatrical trailerOriginal poster artworkLa Cage Aux Folles by Jean PoiretFlickchartLetterboxdSupport The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

When Agnieszka Holland described her film Spoor at the New York Film Festival, she said it was, "an anarchistic, feminist, ecological crime story with elements of black comedy and magic realism." That statement, paired with comments from a correspondent at Poland's state media outlet, calling the film "a pagan film promoting ecoterrorism," speaks exactly to what likely drew Holland to the original source material. It's not a story that is easily definable by Hollywood's genre boxes. But how well does that work in telling a film and trying to find distribution? Join us – Pete Wright and Andy Nelson – as we wrap up our series on director Agnieszka Holland with her 2017 film she co-directed with her daughter Kasia Adamik, Spoor. We talk about our struggles with the film but also why it worked for us largely. We look at the nature of the story and the views Holland is pushing in society, like young vs. old, man vs. nature, and more. We debate the ending and its magic realism feel, even with a plot device to get us there that's frustrating. We chat about animal violence in film, how we feel about it, and how they accomplished it here. We look at the gorgeous cinematography and score and how well they work here. And we touch on the brilliant performance of Agnieszka Mandat in the lead role, paired with Wiktor Zborowski and Miroslav Krobot, and how much we love what these older actors bring to the story. It's a film that likely will be a challenge for a lot of people, but one that works for us, despite some frustrations. 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 SundriesWatch this film: AmazonOriginal theatrical trailerOriginal poster artworkDrive Your Plow Over the Bones of the Dead by by Olga TokarczukFlickchartLetterboxdSupport The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

For Agnieszka Holland's third and final (she says) film about the Holocaust, she landed on a unique story that has shades of others before and after detailing gentiles saving Jews, but that's set in a very unique location – the sewers below the city. That meant a lot of dark scenes, but Holland didn't shy away from them. She worked with Jolanta Dylewska, her cinematographer, and together, they created a beautifully dark palette that feels authentic and not like The Third Man. Join us – Pete Wright and Andy Nelson – as we continue our Agnieszka Holland series with her 2011 film In Darkness. We discuss the nature of Holocaust films and the nature of criticism when looking at stories that are so authentically real and horrible, but are also films. We look at the brilliant lead performance by Robert Wieckiewicz and why he works so well in the film. We chat about the nature of characters in this film and why Holland works so hard to allow her characters to challenge us with their flaws. And we discuss the design of the dark sewer locations, filming in them, and how to write music that works for the film. It's a powerful film, albeit a tough one, that has its issues but still works effectively. We have a great time talking about it, so check it out then tune in to this week's show! 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 SundriesThank you for supporting The Next Reel Film Podcast on Patreon!Watch this film: iTunes • Amazon • [Netflix][netflix] • [Hulu][hulu] • YouTubeScript TranscriptOriginal theatrical trailerOriginal poster artworkIn Light: The True Story of the Girl who Spent Her Childhood In Darkness by Agnieszka HollandFlickchartLetterboxdSupport The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

When Agnieszka Holland was given early pages from Solomon Perel's unfinished memoirs about surviving the Holocaust, she was immediately taken by it. The fact that it was about a young Jewish boy who stayed alive by hiding out as one of the Hitler Youth among other things was fascinating to her, but it was his lack of embellishing and complete honesty that drew her in. Thus began her journey in making a film based on his experiences. Join us – Pete Wright and Andy Nelson – as we kick off a series about the works of Agnieszka Holland with her 1990 film Europa Europa. We talk about how the nature of this story and how it's done very much in a Pilgrim's Progress style, and why it works for this coming of age story. We chat about Holland adapting the story to not just focus on the tragic but also be playful. And we look at reactions and why some people may have had issues with the telling of this story.It's a powerful, wonderful story and we have a great time chatting about it on this week's show. Check it out and 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 SundriesThank you for supporting The Next Reel Film Podcast on Patreon!Watch this film: Amazon • CriterionScript TranscriptOriginal theatrical trailerOriginal poster artworkEuropa Europa: A Memoir of World War II by Solomon PerelFlickchartLetterboxdSupport The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible