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Join me, Jamie Benning, on the film "Ementry's Podcast."


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Particularly, if you enjoy stories like,


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design a Nila Rodis-Gimiro, convincing George Lucas to push him around


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to help gain the support of his crew on the alien how of the duck.


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"Plan the door opens its George, everybody gas.


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George makes a B-line for me and literally back against the wall."


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Or here, puppeteer Tim Rose is a emotional story behind that iconic


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Abarlak Bar shot in the turn of the Jedi.


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"I believe it, or something can be proud of, but not the cell band."


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Or how Star was edited to pull her, tackled cutting so many successful films.


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"I think they're learned from work with the Palman's, their attention, depends on a clock.


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You need to have the sense that time is running out."


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Maybe Oscar-winning sound designer Mark Manjini's insightful chat about his work on Blade Runner 2049.


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"Not a single sound from the original Blade Runner in the new film,


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a great deal of inspiration."


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That's the filmumentaries' podcast with me, Jamie Belling.


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"Mr World here about to take the plunge on the world fast as Roller Coaster.


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I hope it's as fast as the in-store labs at I-class world.


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When you drop in there, they make your glasses the same day.


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You should give it a whirl.


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Just remember to keep your hands and feet inside the I-class world at all times."


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Get two pairs of glasses for $89.


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Fast and I-class world, the world's best way to buy glasses.


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The good I-class world.com to get to your exam online and for offer details.


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"Hold your ears, folks. It's so tight."


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"People pay good might to see this movie.


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When they go out to a theater, they want cold so this, a hot popcorn, in no masters in the projection booth."


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"Everyone pretend podcasting is important."


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"And it's us."


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And that's one thing that I love about it that you can't escape fight in this film.


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And fight seems to be represented by that enormous Illuminated Building just completely.


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Casting its masses shadow over the film.


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I think this was the second Melville film I ever saw.


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I remember just being so gitty when I found a copy of they do low at a blockbuster in


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self-field Michigan, and I don't remember where I found Bobabbe.


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And this was obviously during the time when it was really difficult to find these films.


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And you were just kind of lucky if you were able to locate any of them.


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I found it very interesting going through all of the old clippings and seeing that Bob was


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re-released in the early 80s, mid-90s.


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And even I want to say 2001.


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Just these periods of time, it was almost like cutting down a train, looking at the rings,


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by looking at the dates on these articles.


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Because it was just suddenly all of these articles were being written all at the same time.


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And it was there was one that was part of a bigger Melville show, a whole series of his 13 films.


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And then other times it was just Bob being re-released.


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So I don't know if I'd heard of it during that time.


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But obviously it was getting familiar with Melville after I saw that do though.


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The thing that I loved about this movie, and I'll just put it out there right now.


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I was a huge train of refee fee and a big fan of some other French crying films.


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And this one being a heist film that doesn't have a heist is one of the best things ever.


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And I love how Melville almost literally takes us by the hand.


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We are him doing the voiceover of this film, him introducing things, him really playing with


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cinema.


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And just like how he comes on, it's like this is the story of an like Bob LaFlame Bear.


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The title card comes up and all the credits.


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And just he'll interject himself just at the right time.


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So especially the beginning where he's talking about how Mel Marck represents heaven with the


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Sacrica and then he shows the vernacular and the music just descends.


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And then he talks about in hell.


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And then we see all the pagal.


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Bob is there in both worlds.


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He's constantly going from hell of pagal up to the heaven of his apartment.


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So much of this movie takes place at Bob's apartment.


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And so much of it is crucial to Bob's apartment, especially when it comes to the relationship


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he has with Anne and Paolo and being a very young prostitute and Paolo being his protege.


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And I think at one point they say that Bob used to work with his father and when his father


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died Bob kind of took Paolo under his wing.


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And it's this whole thing of loyalty.


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I mean, the things that we talked about last year or two years ago, whenever we talked about


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the circle Rouge last year, we talked about they do the two years ago.


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All of these, the rules and the nobility of the criminals.


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I mean, that really starts in this movie.


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New really gets to see the seeds of those later films in this one.


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It feels almost more like his early melodramas.


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Like it's it's not even just a heist film without a heist.


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It's like an anti-heist film.


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It's like he clearly spends so much more of the narrative focus exploring Montmartre and these


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characters and their relationships to each other.


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And I don't know if you remember this.


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But when you and I first sort of became friends online, it was around this period where I


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had seen Bob LaFlumber because I think I got the disc during that great sort of Netflix


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disc rental period.


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And I had seen that.


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I saw LaSemara and I decided, okay, I'm going to watch every single one of these films.


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And I sort of did kind of a version of what Andrew did.


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And instead of like strictly working in reverse order, I basically just watched all the films


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I could easily find.


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I was early melodramas are still not very accessible.


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And Mike, I don't know if you remember this, but you helped me find when you read this letter,


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which it was impossible to find at the time.


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But I think because that comes so close to Bob LaFlumber, it feels like this very strange,


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unexpected kind of bridge between that more traditional French melodrama and the crime


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films that he would make after this.


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So it's always such a surprise showing the city people for the first time.


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It's such a movie about relationships and just the way that Bob has, basically as two children


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between Anne and Paolo, the way that he protects both of them, the relationship he has


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with his friend, Broger, the relationship that he has with the police inspector, LaDru.


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I mean, this is that first time that we get to see that relationship between the cop and


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the robber, and I'm a huge fan of John Wu and so seeing this and seeing, you know, being a fan


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of the killer and I'm just like, oh, this is the origin.


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This is where we're seeing this stuff.


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And I absolutely love that.


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That was this whole thing where I think LaDru says, oh, a guy had a gun on me and Bob moved


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to his hand.


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Maybe he was doing it so that the guy didn't go to prison for life or maybe he did it out


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of the goodness of his heart.


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I don't know.


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And you don't know about Bob and you don't know where he's coming from all the time, but you


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hope and wish for the best for him.


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You just feel like he's this kind of night errand and is on the right, even though he's


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horribly addicted to gambling, loses everything throughout the film, gains it back, loses


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it again.


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I mean, it's really awful to see just how gambling has such a hold on this poor guy.


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But that's his whole thing in this fickle finger of faith and just how luck either is with


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him or not with him and does he make his own luck?


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I'm not sure.


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Yeah, I think the entire film is always constructed like a game of roulette because we keep


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going back to that roulette wheel and the ball dropping seemingly at random into the various


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numbers.


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And I think that's the feeling that you do get from the film that the whole thing is is


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a game and it's being decided by forces larger than Bob.


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The other thing that I really get from the film is the key to understanding Melville's universe


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is realizing that this is all about pre-war Paris.


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And in Melville's film universe, you have pre-war France and then you have what happens during


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the war and the repercussions of World War II.


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And World War II is such a rupture within this universe that it completely upends the noble


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order of things.


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And so Bob being this creature of that pre-war, noble universe, he experiences that betrayal,


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the rupture in the order when he is betrayed by his compatriots.


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And it is certainly betrayed by the girl that he loves and protects.


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Seemingly as a daughter but I suspect that he does have feelings for a role in Melville actually


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says in Melville on Melville, he was in the love with the goal.


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So I think this feeling of being betrayed is part of the division of pre-war and/postwar


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France that Melville is almost fetishistically trying to create within his crime films.


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And also within his World War II films.


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Everyone is potentially a member of the Gestapo.


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Everyone is potentially out to sell them out to the secret police.


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The chief of police paradoxically here is also part of that previous order and there is


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that beautiful relationship between the two.


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The only pre-war France would have been able to maintain.


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That's one of the things that really drew me to his films early on is they have this sense


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of being very like set in a specific time period in some ways because of the costumes and


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the cars and the style but also having the sense of being very kind of out of time if you


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have directors who make period piece films.


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It's like I've seen some critics try to argue that some of Melville's films are like that


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but it's exactly what you're saying I think.


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It's like he's setting them in this fantasy version of the past that's not the real past.


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It's this like ideal that he has in his head especially in terms of these masculine values


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of honor and how how loyal are you and what are your morals and it's obvious I think with


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this film more than any other that he made after the way that he really idealizes what


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Bob represents is just this like universally beloved guy.


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Those early scenes almost remind me of like Disney's beauty in the beast where she walks


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down the street and everyone says hello to her and it's like every every place Bob goes


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everyone's so excited to see him.


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It's like how often do you see characters that are that sort of whimsical in gangster movies?


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Absolutely and at it he is a construct.


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Just as a pig out in Bob LaFlanbert is a construct it.


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It exists somewhere in a kind of filmic Twilight world that's partly Melville's own past and also


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a pagal that's been filtered through this fetishistic obsession with Hollywood and specifically


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pre-war Hollywood.


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Bob is an architect.


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He may have reminded Melville of the kind of characters from the demimond that he would have


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grown up next to in the 20s and 30s.


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That he's also a Hollywood hero wearing a Hollywood style trench coat and hat.


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He would fit right into some of the earlier gangster films that were coming out of Hollywood


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to your point.


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I mean there are so many feelers that go back into John Houston CSV Joe Gole.


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Melville's pretty open about how much he loved that film and how much that film influenced


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this film.


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But it is so vastly different.


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I mean especially yet the end of it.


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Both of them end a little bad.


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This is somewhat film-nourished but yes, all jungles ending will just curve the higher out of


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you.


246
00:20:29,520 --> 00:20:30,520
Where is this one?


247
00:20:30,520 --> 00:20:34,200
An end on a joke which is fantastic and you never know where it's going to go even though


248
00:20:34,200 --> 00:20:40,200
they could try to tell us what happened with Bob when we come to Broughless in a few


249
00:20:40,200 --> 00:20:41,200
years.


250
00:20:41,200 --> 00:20:43,240
Yeah, I thought that guy.


251
00:20:43,240 --> 00:20:49,520
Rather just think of Bob getting that good lawyer and suing for damages and getting away


252
00:20:49,520 --> 00:20:52,120
with like the $100 million of Franks.


253
00:20:52,120 --> 00:20:53,120
That's fantastic.


254
00:20:53,120 --> 00:20:58,600
But yeah this whole idea of Bob being this film or character.


255
00:20:58,600 --> 00:21:00,320
I mean you're right.


256
00:21:00,320 --> 00:21:04,920
They even make a reference about how Bob looks like a Hollywood gangster and then it's like, oh,


257
00:21:04,920 --> 00:21:09,000
well Hollywood gangsters are actually based on French gangsters instead.


258
00:21:09,000 --> 00:21:13,240
It's like, okay sure, but Melville loves American films.


259
00:21:13,240 --> 00:21:14,240
Love American cars.


260
00:21:14,240 --> 00:21:15,960
Bob loves American cars.


261
00:21:15,960 --> 00:21:21,640
I'm surprised Bob doesn't wear the same kind of stats in cowboy hat that Melville did.


262
00:21:21,640 --> 00:21:27,920
But there are a lot of similarities between Bob and Melville and this whole love of the


263
00:21:27,920 --> 00:21:30,400
milieu is definitely one of them.


264
00:21:30,400 --> 00:21:38,200
But to Andrew's point, I think Bob definitely, even though he has these similarities to Melville


265
00:21:38,200 --> 00:21:43,280
and some degree, Bob does experience that betrayal.


266
00:21:43,280 --> 00:21:51,640
But he's definitely this kind of pre world war to character who doesn't have that kind of


267
00:21:51,640 --> 00:21:59,240
like violence and darkness that I think Melville had because of his experiences in the resistance


268
00:21:59,240 --> 00:22:04,040
and that all of his characters after Bob will flimper have.


269
00:22:04,040 --> 00:22:10,000
He has this like, even though the film does have all of these more downbeat notes in the second


270
00:22:10,000 --> 00:22:16,600
half, Bob just has this kind of like lightness and resilience that makes the ending kind of


271
00:22:16,600 --> 00:22:21,640
confusing because it seems like it should it should feel like a happy ending.


272
00:22:21,640 --> 00:22:23,400
Like he's probably not going to go to jail.


273
00:22:23,400 --> 00:22:27,160
He won all this money and they didn't even have to rob the casino.


274
00:22:27,160 --> 00:22:29,480
But at the same time, it doesn't.


275
00:22:29,480 --> 00:22:33,160
It's like very mixed emotions throughout.


276
00:22:33,160 --> 00:22:38,080
When you're wondering why is he even going to have with the robbery when he knows I mean,


277
00:22:38,080 --> 00:22:43,200
he's getting betrayed multiple times and he knows he's getting betrayed.


278
00:22:43,200 --> 00:22:49,240
He's got Paolo who spills the beans to Anne because he's trying to impress her.


279
00:22:49,240 --> 00:22:51,560
She spills the beans to what's the guy's name.


280
00:22:51,560 --> 00:22:56,960
Mark the Pimp and then Mark is on the hook with the ledrew to give him something otherwise


281
00:22:56,960 --> 00:23:00,720
he's going to get arrested or kicked out of free and type of thing.


282
00:23:00,720 --> 00:23:07,280
There is that going on and plus there's the other betrayal which is the groupier and his wife


283
00:23:07,280 --> 00:23:11,040
has very harpy of a wife who's just like we need more money.


284
00:23:11,040 --> 00:23:14,040
You need to get us more money or else we're going to tell the cops.


285
00:23:14,040 --> 00:23:19,840
And so after the dru gets any year for all from Mark, he then gets an ear full from the


286
00:23:19,840 --> 00:23:25,640
group years wife and it's like, okay, wow, and Bob is well aware at one point that there


287
00:23:25,640 --> 00:23:29,600
was this betrayal of Paolo to Anne to Mark.


288
00:23:29,600 --> 00:23:33,720
He's that sheriff Mark went to the dru and I, but it's enough that he should just call


289
00:23:33,720 --> 00:23:34,720
the whole thing.


290
00:23:34,720 --> 00:23:40,400
But he's a gambler, you know, he's Bob La Flumber, not Bob La Extremely careful.


291
00:23:40,400 --> 00:23:46,700
It's in his DNA to roll the dice or spin the roulette wheel in this case and take that


292
00:23:46,700 --> 00:23:49,840
else about gamble to see if he can get away with it.


293
00:23:49,840 --> 00:23:58,120
I think that was the whole point of it all to see if his gamble pays off and paradoxically


294
00:23:58,120 --> 00:24:04,200
wins all that money and then emerges in the middle of a gunfight completely unscathed.


295
00:24:04,200 --> 00:24:09,800
I mean, it seems like the gambling gods were smiling upon him.


296
00:24:09,800 --> 00:24:18,040
Maybe not completely in a grants with him, but he does manage to slide through magically,


297
00:24:18,040 --> 00:24:19,040
I think.


298
00:24:19,040 --> 00:24:21,720
And there's the magic of the self, you know.


299
00:24:21,720 --> 00:24:28,280
You made this point earlier about how there's this issue of sort of fate always winning out,


300
00:24:28,280 --> 00:24:32,960
especially in Melville's later films where fate seems particularly angry.


301
00:24:32,960 --> 00:24:38,240
But here, the story does go through those beats that you described of, you know, we see


302
00:24:38,240 --> 00:24:43,720
him winning some money and losing some money and it's just this constant up and down.


303
00:24:43,720 --> 00:24:48,600
But it seems like, like, the more times I watch this, it seems like that's what Bob


304
00:24:48,600 --> 00:24:56,680
wants is he wants that kind of instability and unpredictability and that's what's exciting to him


305
00:24:56,680 --> 00:25:04,200
about life is sort of he has this Montmartre Pigalt ecosystem where there is this moral code


306
00:25:04,200 --> 00:25:08,200
and if you don't follow the moral code, you get shot at the end of the film.


307
00:25:08,200 --> 00:25:12,560
But it's like that quality of things being up and down.


308
00:25:12,560 --> 00:25:18,480
It's not as tragic as I think it feels in maybe later Hollywood movies where you see


309
00:25:18,480 --> 00:25:23,960
people, you know, in something like Leeman Las Vegas where there's all this kind of gambling


310
00:25:23,960 --> 00:25:25,960
and drinking excess.


311
00:25:25,960 --> 00:25:27,960
Would you be con in the gambler?


312
00:25:27,960 --> 00:25:31,720
That's another right sort of fatal state.


313
00:25:31,720 --> 00:25:37,760
But here you get this sense that like it's not as fatalistic because he has this community


314
00:25:37,760 --> 00:25:41,720
to support him and he supports other people within it.


315
00:25:41,720 --> 00:25:47,600
And I think maybe that's what gives it that sort of free war kind of wholesomeness.


316
00:25:47,600 --> 00:25:52,400
There's a very innocent quality about it despite the fact that he's a hard boy, it holds


317
00:25:52,400 --> 00:25:54,200
hard bit in gambler.


318
00:25:54,200 --> 00:25:56,400
There's magic around him.


319
00:25:56,400 --> 00:26:05,760
He's kind of like the snow white sprinkling pixie dust on everyone in pick out.


320
00:26:05,760 --> 00:26:10,840
Well yeah, when you find out that the bartender that she had this dream of opening up a bar


321
00:26:10,840 --> 00:26:15,560
and he's the one that's staked her and it feels like he doesn't want anything back


322
00:26:15,560 --> 00:26:16,560
by that.


323
00:26:16,560 --> 00:26:20,240
He just wanted to out and he just feels yeah super magnanimous.


324
00:26:20,240 --> 00:26:25,800
It doesn't feel like he's there conniving and we delaying and saying, oh, if I do this for you,


325
00:26:25,800 --> 00:26:27,160
you do this for me.


326
00:26:27,160 --> 00:26:29,560
Yes, magnanimous is the right word for him.


327
00:26:29,560 --> 00:26:37,080
He is this saint of peagal that he is there to experience fate at every turn, go to the horse


328
00:26:37,080 --> 00:26:41,920
races and win big and William of Orange or whatever it is.


329
00:26:41,920 --> 00:26:43,400
The prince of orange.


330
00:26:43,400 --> 00:26:50,520
And then go to my to car, though, and then lose the whole thing just in an afternoon, he can


331
00:26:50,520 --> 00:26:57,560
go from riches to absolute destitution just in an afternoon and it's unusual for him to be


332
00:26:57,560 --> 00:26:58,800
out during the daytime.


333
00:26:58,800 --> 00:27:03,920
He's almost a little bit of a vampire in this film with the way that he is only going around


334
00:27:03,920 --> 00:27:04,920
at night.


335
00:27:04,920 --> 00:27:09,800
I love that at the beginning when they show and versus the cleaning woman and how it's the


336
00:27:09,800 --> 00:27:15,280
soul thing of like, you know, and stays wrapping up while the cleaning lady is just beginning


337
00:27:15,280 --> 00:27:20,880
and that they kind of cross paths there in peagal and it's very much like everybody else is


338
00:27:20,880 --> 00:27:25,960
waking up and Bob's finally going to bed because he's all night just gambling going from


339
00:27:25,960 --> 00:27:27,680
game to game to game to game.


340
00:27:27,680 --> 00:27:33,160
At the beginning of the episode when Andrew mentioned that he is in an Australian time zone


341
00:27:33,160 --> 00:27:37,960
and is calling in at 6 am, it made me think like, oh, this is around the time on Bob will


342
00:27:37,960 --> 00:27:38,960
be getting home from death.


343
00:27:38,960 --> 00:27:41,800
That's what I've been doing all night.


344
00:27:41,800 --> 00:27:44,800
My God, by the way, does anyone got to spare 20 bucks?


345
00:27:44,800 --> 00:27:47,240
They might be able to lend me.


346
00:27:47,240 --> 00:27:48,760
We keep talking about fate.


347
00:27:48,760 --> 00:27:50,680
We haven't brought up God at all.


348
00:27:50,680 --> 00:27:56,880
Sacrificor being there is very, very God like, but I'm very surprised that when it comes to


349
00:27:56,880 --> 00:28:02,960
there's an amazing shot of Bob making a decision, you know, kind of flipping as is to


350
00:28:02,960 --> 00:28:08,920
you headed coin where he's making a decision whether drink coffee or conyac and I've found


351
00:28:08,920 --> 00:28:14,320
interesting that Melville doesn't give us a quote unquote God's eye view of him that it's


352
00:28:14,320 --> 00:28:19,240
a little bit more like upper and over the shoulder shot of him making that decision because


353
00:28:19,240 --> 00:28:23,240
that could really see him going all out and being like, here, let me give you the God's


354
00:28:23,240 --> 00:28:28,960
eye view over this whole set and having Bob making this like walking to one and then


355
00:28:28,960 --> 00:28:33,520
walking to the other and then finally going for the conyac like he should.


356
00:28:33,520 --> 00:28:38,120
But yeah, I was glad that he wasn't as literal as that.


357
00:28:38,120 --> 00:28:42,800
I don't know if it's just that the studio that he had that he was shooting this in went


358
00:28:42,800 --> 00:28:44,120
up, have allowed for that.


359
00:28:44,120 --> 00:28:49,040
But I think Melville would have could have and would have done whatever the fucking one.


360
00:28:49,040 --> 00:28:50,720
And that's always the thing with Melville.


361
00:28:50,720 --> 00:28:56,080
Even in this early stage of his work where it feels, he was very rough.


362
00:28:56,080 --> 00:29:00,640
This feels almost like proto new wave to me and I love it though.


363
00:29:00,640 --> 00:29:05,040
I love that it has that feel to it that it feels like what you guys are trying to do and


364
00:29:05,040 --> 00:29:06,600
like a few years here.


365
00:29:06,600 --> 00:29:08,440
Melville's already doing this stuff right now.


366
00:29:08,440 --> 00:29:10,760
But I don't think you get a God's eye view.


367
00:29:10,760 --> 00:29:12,960
You get a Bob's eye point of view.


368
00:29:12,960 --> 00:29:22,680
It slightly above Bob and Bob flipping it to side to coin means I think literally that


369
00:29:22,680 --> 00:29:26,560
he is the ultimately the master of his own fight.


370
00:29:26,560 --> 00:29:32,920
You find out at the very end that the coin that he uses it has the same thing on both sides,


371
00:29:32,920 --> 00:29:38,920
which I think really underscores that the final note is he is master of his own fate.


372
00:29:38,920 --> 00:29:41,760
He's making it himself.


373
00:29:41,760 --> 00:29:46,680
And so if it has its ups and downs, that's something he desires.


374
00:29:46,680 --> 00:29:51,880
And this relationship with Roger, Roger just is going along with him the entire time


375
00:29:51,880 --> 00:29:54,960
what he does make all of these bets on a coin.


376
00:29:54,960 --> 00:30:00,400
And I just like, you know, oh, I knew that was a too high-ded coin all this time.


377
00:30:00,400 --> 00:30:04,360
And then Bob coming back with, well, I knew you knew that it was a too high-ded coin all


378
00:30:04,360 --> 00:30:06,360
this time.


379
00:30:06,360 --> 00:30:09,880
It's like what a swap motherfucker.


380
00:30:09,880 --> 00:30:13,760
Jumping briefly back to your point about the new wave.


381
00:30:13,760 --> 00:30:20,880
When I was watching Bob yet again this morning, I was thinking about Melville's use of


382
00:30:20,880 --> 00:30:24,360
his own voice for the voice over narration.


383
00:30:24,360 --> 00:30:30,160
That must be where God got it from because he does it from his very first short films.


384
00:30:30,160 --> 00:30:36,680
And it's crazy to think that like basically without this film, you, I think would get


385
00:30:36,680 --> 00:30:42,160
a very different new wave because it seems like they're just pulling directly from him.


386
00:30:42,160 --> 00:30:48,520
Well, yeah, I didn't realize how other filmmakers like I knew that Melville showed up


387
00:30:48,520 --> 00:30:54,840
in breathless and him doing that whole thing of, uh, I want to become a mortal that died.


388
00:30:54,840 --> 00:30:57,320
You know, that's so good.


389
00:30:57,320 --> 00:31:03,280
But I forgot that he was in a Chevrolet film and did he have something to do with true


390
00:31:03,280 --> 00:31:06,200
foe as well or am I just making that up?


391
00:31:06,200 --> 00:31:07,440
I don't think so.


392
00:31:07,440 --> 00:31:16,920
I knew that he knew or he knew all of them because of their early connection to the cinema


393
00:31:16,920 --> 00:31:24,120
clubs because they all started reviewing films and we're all big fans of his movies.


394
00:31:24,120 --> 00:31:29,320
But I know that I also know that pretty early into good darts career.


395
00:31:29,320 --> 00:31:35,280
Melville was like whatever you're doing is bullshit and they stopped being friends.


396
00:31:35,280 --> 00:31:42,680
I suspect that all of those guys who became a new wave and we can never include Melville in


397
00:31:42,680 --> 00:31:50,080
any sort of club because Melville was just out there on his own and refused to join, you know,


398
00:31:50,080 --> 00:31:53,040
any club that wanted him as a member.


399
00:31:53,040 --> 00:31:59,160
You know, I think that those guys all had the same sort of love hate relationship as they


400
00:31:59,160 --> 00:32:06,600
did with American pop culture in general and, you know, the conventional cinema of the


401
00:32:06,600 --> 00:32:14,040
US, the genres that they were riffing on and the films that Melville deliberately embraced,


402
00:32:14,040 --> 00:32:19,360
you know, they would have had a problematic relationship with those because they're simultaneously


403
00:32:19,360 --> 00:32:24,200
trying to embrace them and also debase them.


404
00:32:24,200 --> 00:32:27,560
And I think they did that with Melville as well.


405
00:32:27,560 --> 00:32:33,240
They would cite him as an influence and then tear strips off his new film and say, "Oh,


406
00:32:33,240 --> 00:32:39,400
how bourgeois, how disgustingly pro-American pro Hollywood?"


407
00:32:39,400 --> 00:32:48,040
Yeah, I think Melville occupied that really sort of a thorny ground between the new wave and the


408
00:32:48,040 --> 00:32:49,440
Hollywood establishment.


409
00:32:49,440 --> 00:32:55,640
And also the French film establishment that would have been seen as collaborators with the


410
00:32:55,640 --> 00:32:57,280
dreaded Americans.


411
00:32:57,280 --> 00:33:03,120
I think what I was thinking of was that he was in a Romero film saying that the lion.


412
00:33:03,120 --> 00:33:06,080
Also, so was Godar, so was Renee.


413
00:33:06,080 --> 00:33:09,200
So there were a lot of other folks in that one with him.


414
00:33:09,200 --> 00:33:10,840
But that's what I was thinking.


415
00:33:10,840 --> 00:33:11,840
It wasn't the trifo.


416
00:33:11,840 --> 00:33:18,000
I think the trifo connection is that the guy that plays La Druu ends up going in being in the


417
00:33:18,000 --> 00:33:19,000
400 blows.


418
00:33:19,000 --> 00:33:21,320
I think that's as close as we got with that.


419
00:33:21,320 --> 00:33:22,560
I love the Druu.


420
00:33:22,560 --> 00:33:24,160
I absolutely love the Druu.


421
00:33:24,160 --> 00:33:25,880
I love his attitude.


422
00:33:25,880 --> 00:33:26,880
I love the guys.


423
00:33:26,880 --> 00:33:27,880
Face.


424
00:33:27,880 --> 00:33:32,400
He's one of these great, great faces that we have.


425
00:33:32,400 --> 00:33:39,280
I mean, you talk a little bit about the Albino, Brian Ferry look of Bob.


426
00:33:39,280 --> 00:33:42,080
All of these people have these great, great faces in here.


427
00:33:42,080 --> 00:33:45,640
And this is it was so nice to see.


428
00:33:45,640 --> 00:33:54,000
And I swear that Bob has a little bit of a Jean-Gabin look to him, but much more lean and


429
00:33:54,000 --> 00:33:57,040
hungry than Gabin had looked in a while.


430
00:33:57,040 --> 00:34:00,040
He definitely has a sort of classier edge.


431
00:34:00,040 --> 00:34:05,520
Like earlier when you were talking about how you were surprised that Melville didn't put him


432
00:34:05,520 --> 00:34:10,120
in one of those stats and hats, which he loved.


433
00:34:10,120 --> 00:34:18,600
And I just can imagine that happening because Bob has this very specifically kind of old world


434
00:34:18,600 --> 00:34:21,320
style and class.


435
00:34:21,320 --> 00:34:28,600
And a lot of the older male characters in this film have that, whereas the younger male characters,


436
00:34:28,600 --> 00:34:34,920
even if they are wearing sort of similar clothing, they come off way more gangster-like because


437
00:34:34,920 --> 00:34:42,520
they just don't have the same kind of ease and presence that self assurance that Bob seems


438
00:34:42,520 --> 00:34:43,520
to have.


439
00:34:43,520 --> 00:34:47,120
Well, you know what all these young guys are, they're post-war punks.


440
00:34:47,120 --> 00:34:50,800
And they would be in Melville's universe, not like that.


441
00:34:50,800 --> 00:34:57,400
Wow, pre-war guy who starts around and looks into the mirror periodically just to make sure


442
00:34:57,400 --> 00:35:00,600
that he's maintaining his gangster cool.


443
00:35:00,600 --> 00:35:05,480
That part is so great because he, like the first time I saw this, I remember thinking, like,


444
00:35:05,480 --> 00:35:12,400
"Okay, here's this sort of swab distinguished older guy who for some reason is up at seven


445
00:35:12,400 --> 00:35:16,800
in the morning and says he's going to bed, but stops at a bar."


446
00:35:16,800 --> 00:35:19,440
And another gambling game first.


447
00:35:19,440 --> 00:35:25,240
And so for him to look at himself and say that, "Oh, it's a real gangster's face or a real


448
00:35:25,240 --> 00:35:27,480
hood's face." and it's like, "Is it?"


449
00:35:27,480 --> 00:35:32,760
Yeah, I love that that's his first line too, but he doesn't say that he's going to bed,


450
00:35:32,760 --> 00:35:37,760
that it's that he just puts his hand head on his hands, like he's going to.


451
00:35:37,760 --> 00:35:42,560
So that the first line is that, "Holy, a fine hood-lum space when it's looking at himself


452
00:35:42,560 --> 00:35:43,760
and that dirty mirror."


453
00:35:43,760 --> 00:35:46,240
And it's like, "Oh, that's so good."


454
00:35:46,240 --> 00:35:51,360
There's so many moments that I'm just so excited when I watch this movie.


455
00:35:51,360 --> 00:35:59,200
When they get the safe crack stuff and they hook up the big loudspeaker to it so that they


456
00:35:59,200 --> 00:36:02,600
can hear where the tumblers are and I'm just like, "Oh, that's so cool."


457
00:36:02,600 --> 00:36:09,120
Or when he has the chalk outline of the reveal casino out on this field and I'm just like,


458
00:36:09,120 --> 00:36:12,920
"That is so cool that he's doing this whole thing with the fore plan."


459
00:36:12,920 --> 00:36:15,080
I mean, there's so many great moments like that.


460
00:36:15,080 --> 00:36:19,880
And I love, I mean, I think it's like an hour into the movie and Melville comes back


461
00:36:19,880 --> 00:36:24,200
in the soundtrack and he's just like, "This is the way Bob wanted it to go."


462
00:36:24,200 --> 00:36:30,000
And then we get to see the heist take place in the middle of the movie and we get to see


463
00:36:30,000 --> 00:36:35,600
it go off without a flaw and then we get to see how bad everything fucks up after that.


464
00:36:35,600 --> 00:36:38,000
This feels like the anti-reffy.


465
00:36:38,000 --> 00:36:42,560
He's like, "Okay, so we're going to spend all this time getting the gang together and working


466
00:36:42,560 --> 00:36:47,800
on our strategy, but here, those moments where they're planning the heist, it feels like


467
00:36:47,800 --> 00:36:50,480
just a reason for them to hang out together."


468
00:36:50,480 --> 00:36:56,560
Like it doesn't have that sort of anxious sense of purpose that a lot of other heist movies have.


469
00:36:56,560 --> 00:36:59,520
It's like, "Okay, here's where this should go."


470
00:36:59,520 --> 00:37:01,720
And it's almost like they're just having fun.


471
00:37:01,720 --> 00:37:07,120
Well, they've already planned it and you've already seen the planning and meticulous detail.


472
00:37:07,120 --> 00:37:10,120
It's like, "Why would we bother to even film the heist?


473
00:37:10,120 --> 00:37:11,120
We've done it."


474
00:37:11,120 --> 00:37:16,800
And suddenly the actual heist itself would have been a really dull afterthought.


475
00:37:16,800 --> 00:37:22,880
He's a hell of a beating died in the wall of contrarian and determined to be out there, you know,


476
00:37:22,880 --> 00:37:24,880
in a club of one.


477
00:37:24,880 --> 00:37:30,800
This was definitely the mischievous Jean Pierre saying, "Well, I'm going to make it with


478
00:37:30,800 --> 00:37:33,080
his a heist film without a heist."


479
00:37:33,080 --> 00:37:38,760
And of course the future new wave guys are all like genius.


480
00:37:38,760 --> 00:37:40,520
Let's make an anti-crim film.


481
00:37:40,520 --> 00:37:42,560
Let's make an anti-gangster film.


482
00:37:42,560 --> 00:37:49,480
The idea of doing something contrary to their film establishment would have been like, you know,


483
00:37:49,480 --> 00:37:52,880
like diving into a swimming pool full of cognac.


484
00:37:52,880 --> 00:37:54,680
It would have been intoxicating.


485
00:37:54,680 --> 00:38:00,480
For you watching it this time and thinking about those kind of like weird sort of sometimes


486
00:38:00,480 --> 00:38:06,880
clumsy dissolves he has, you can totally see how the younger new wave directors were like,


487
00:38:06,880 --> 00:38:08,280
"Oh my God."


488
00:38:08,280 --> 00:38:13,680
There's a moment in the film where the camera irises in and irises out and I think it's like,


489
00:38:13,680 --> 00:38:15,960
"Is this just the show that time has passed?"


490
00:38:15,960 --> 00:38:17,680
I'm not really sure what's going on here.


491
00:38:17,680 --> 00:38:23,080
I didn't let dissolve at the very end when those guys are putting the money in the back of


492
00:38:23,080 --> 00:38:24,360
the car.


493
00:38:24,360 --> 00:38:28,480
And we just use a quick dissolve to be like, "Wow, there must have been a lot of money being


494
00:38:28,480 --> 00:38:32,920
put in the back of this car in order to have to do a dissolve in the middle of it."


495
00:38:32,920 --> 00:38:34,320
It's so perfect.


496
00:38:34,320 --> 00:38:37,920
And the fact that he's like, "No sticky finger policemen now."


497
00:38:37,920 --> 00:38:40,520
Like, I earned this money.


498
00:38:40,520 --> 00:38:44,760
In high films you get the thing where it's, okay, we're going to practice it.


499
00:38:44,760 --> 00:38:48,440
We're going to do all these things and then we're going to do the highest and it's going


500
00:38:48,440 --> 00:38:49,440
to go wrong.


501
00:38:49,440 --> 00:38:55,320
Or you get the, I don't want to say it was like one of the ocean's movie where it's like,


502
00:38:55,320 --> 00:38:57,320
"Okay, and here's how it's going to go."


503
00:38:57,320 --> 00:39:02,200
And they basically talk you through the plan as the the highest is happening.


504
00:39:02,200 --> 00:39:08,360
And then this one, you get that little bit of, here's how the highest is supposed to go.


505
00:39:08,360 --> 00:39:14,360
And then I love when the the night of the highest is happening and you get the whole like,


506
00:39:14,360 --> 00:39:16,360
"Okay, it's 3.30am."


507
00:39:16,360 --> 00:39:18,240
All right, now it's 4.


508
00:39:18,240 --> 00:39:19,240
Now it's 4.30am.


509
00:39:19,240 --> 00:39:26,240
Yeah, we know that 5 o'clock is the magic hour and just that Bob has completely forgotten about


510
00:39:26,240 --> 00:39:30,720
everything that he is just in this reverie of winning now.


511
00:39:30,720 --> 00:39:37,040
And you occasionally get cuts back to the other guys who are just kind of waiting.


512
00:39:37,040 --> 00:39:39,400
But they're not necessarily waiting at a signal.


513
00:39:39,400 --> 00:39:41,080
They don't seem to be waiting for Bob.


514
00:39:41,080 --> 00:39:43,080
It's not like they're going, "Oh, where is he?


515
00:39:43,080 --> 00:39:45,280
He was supposed to be here by now or anything."


516
00:39:45,280 --> 00:39:49,400
They just show up at the at the casino at 5 a.m.


517
00:39:49,400 --> 00:39:55,240
Sharp and by that time, Bob has cleaned out the casino completely legally.


518
00:39:55,240 --> 00:39:57,240
It's beautiful.


519
00:39:57,240 --> 00:39:59,640
They could have cooled the film way as Bob.


520
00:39:59,640 --> 00:40:03,560
It were like Bob goes straight or something.


521
00:40:03,560 --> 00:40:09,160
Because there's that midfilm sequence where it's like, "This is how we wanted it to go."


522
00:40:09,160 --> 00:40:14,600
The implication, I think, especially if you've seen later Melville films first is like,


523
00:40:14,600 --> 00:40:19,400
"Okay, well if we saw this idealized version in the middle and we know that's what's not


524
00:40:19,400 --> 00:40:20,400
going to happen.


525
00:40:20,400 --> 00:40:22,080
Everyone's going to die."


526
00:40:22,080 --> 00:40:26,360
But the fact that the ending is not really tragic and-


527
00:40:26,360 --> 00:40:27,360
Except for Paula.


528
00:40:27,360 --> 00:40:34,280
Well, except for Paula, but Paula also, I think by this kind of film noir logic, by betraying


529
00:40:34,280 --> 00:40:37,520
Bob, Paula, kind of had to die.


530
00:40:37,520 --> 00:40:43,480
At least in the scope of Melville films, the fact that he makes you kind of forget about the


531
00:40:43,480 --> 00:40:48,160
heist and that's not what's carrying the tension or the narrative weight.


532
00:40:48,160 --> 00:40:52,080
It's just like we're really excited to watch this guy gamble and win.


533
00:40:52,080 --> 00:40:59,080
The narrative imperative is what happens to Bob, you know, not what happens to the money.


534
00:40:59,080 --> 00:41:03,320
Because you're so invested in Bob winning, I guess.


535
00:41:03,320 --> 00:41:04,640
And that's real, the beauty of it.


536
00:41:04,640 --> 00:41:07,240
It's not a lot of lead to Hollywood crime films.


537
00:41:07,240 --> 00:41:12,320
It's a love lead to characters like Bob and the world in which they inhabit.


538
00:41:12,320 --> 00:41:20,400
Bob definitely seems more connected to some of those 30s poetic realism gangsters than


539
00:41:20,400 --> 00:41:21,920
he does Hollywood.


540
00:41:21,920 --> 00:41:28,240
Like, definitely a little of junk, a band, sort of, you just want the character to succeed, even


541
00:41:28,240 --> 00:41:31,760
though it seems like they're in for tragedy.


542
00:41:31,760 --> 00:41:38,640
I see a lot of parallels between Bob and Pepe Lemoko and just the way that Pepe is kind of


543
00:41:38,640 --> 00:41:46,400
stuck in the Casba and for me, Bob is there in Momart and he's that stuck there necessarily,


544
00:41:46,400 --> 00:41:50,240
but that's his world and that's the world that he just shows him to live at.


545
00:41:50,240 --> 00:41:51,760
For me, I totally agree.


546
00:41:51,760 --> 00:41:57,640
Paolo, he betrayed Bob and worse, he murders Mark while Mark is on the fucking phone with


547
00:41:57,640 --> 00:41:58,640
ledrew.


548
00:41:58,640 --> 00:42:03,880
I'm surprised that that didn't come to more, but it's this whole thing of, like, I don't think


549
00:42:03,880 --> 00:42:07,640
Bob would use it gun if it came down to it.


550
00:42:07,640 --> 00:42:12,520
You know, I can see Bob holding it gun, but Bob just seems very much more like, oh, no,


551
00:42:12,520 --> 00:42:16,360
I'm the plan or I'm this guy, I'm not going to go out and murder anybody.


552
00:42:16,360 --> 00:42:22,560
He can slap people really well. He gives Mark what for after he fights out that Mark is beat


553
00:42:22,560 --> 00:42:29,360
up Lydia, this woman that we never see who was, I guess, Mark's gal or maybe his piece


554
00:42:29,360 --> 00:42:33,000
that he had turned out because the one thing that Bob can't stand is Pemps.


555
00:42:33,000 --> 00:42:36,520
He just will not put up with any sort of Pemps.


556
00:42:36,520 --> 00:42:41,280
Absolutely, if I would prostitution, but does not like Pemps and I can totally see that.


557
00:42:41,280 --> 00:42:46,880
It doesn't like the idea of men sponging off of women who are actually out there doing real


558
00:42:46,880 --> 00:42:47,880
work.


559
00:42:47,880 --> 00:42:54,960
In that same line of Bob wouldn't use a gun and his very gentlemanly qualities, there's also


560
00:42:54,960 --> 00:43:00,040
this great line and I'm trying to remember the context in which it came up, but they're talking


561
00:43:00,040 --> 00:43:05,160
about he's talking to some guys in a bar and they're talking about how things are used to


562
00:43:05,160 --> 00:43:12,720
be and they're basically saying that, you know, hoads and gangsters in my early days would


563
00:43:12,720 --> 00:43:16,920
carry guns, but they wouldn't have any bullets in them and now you have to have like


564
00:43:16,920 --> 00:43:19,320
now these young kids have bullets.


565
00:43:19,320 --> 00:43:21,160
Is basically what they're saying.


566
00:43:21,160 --> 00:43:26,240
That whole prewar versus postwar and what they're doing and I mean we're going to get that


567
00:43:26,240 --> 00:43:30,240
a whole lot more through the rest of Melville's films, especially when you get to something


568
00:43:30,240 --> 00:43:38,280
like army of shadows with the two units as collide and brutally spectacular fashion.


569
00:43:38,280 --> 00:43:43,960
This one is so light and fluffy compared to army of shadows compared to a lot of his later


570
00:43:43,960 --> 00:43:50,200
films, but this one, yeah, basically ends with a joke and it ends with the possibility that


571
00:43:50,200 --> 00:43:56,240
Bob is going to get away clean because Lady Luck came back and he was able to rob the casino


572
00:43:56,240 --> 00:44:04,240
by taking it for all that it was worth and yeah, it's a shame that although died, but that


573
00:44:04,240 --> 00:44:08,720
gunfight, we have to talk about the gunfight where we don't ever see the guns actually shoot.


574
00:44:08,720 --> 00:44:15,640
We just kind of hear gun sound effects and they don't even like shake their guns like they're


575
00:44:15,640 --> 00:44:17,240
actually firing or anything.


576
00:44:17,240 --> 00:44:22,400
It was just like I always forgot how new wave this gunfight is that we're just going to do


577
00:44:22,400 --> 00:44:29,000
it where people just hold the guns, you hear the sound effects and then pour polo just kills over


578
00:44:29,000 --> 00:44:34,560
no blood or anything and yeah, he's out of the picture and then Bob has to comfort him.


579
00:44:34,560 --> 00:44:38,120
I think he's got the little trickle of blood that comes out the side of his mouth where you're


580
00:44:38,120 --> 00:44:40,280
just like, oh, this guy's done for.


581
00:44:40,280 --> 00:44:45,240
The gunfight is as much of an afterthought as the highest would have been if I had a bullet


582
00:44:45,240 --> 00:44:46,240
to throw a bit.


583
00:44:46,240 --> 00:44:47,960
It's almost comedic.


584
00:44:47,960 --> 00:44:55,720
At the first time, I watched this, I just kind of assumed like this must be the work of a


585
00:44:55,720 --> 00:45:00,240
younger director who didn't really know what he was doing and then when I finally saw all


586
00:45:00,240 --> 00:45:06,520
of his films kind of understood the context of this one, it's like no, he knew exactly


587
00:45:06,520 --> 00:45:11,960
what he was doing and he's just trying to tell you like this thing that you typically would


588
00:45:11,960 --> 00:45:15,160
care about in this kind of genre film, this trope.


589
00:45:15,160 --> 00:45:18,240
It's like it doesn't matter, it's just an empty symbol.


590
00:45:18,240 --> 00:45:24,160
Well, you always describe it as a comedy and before watching Bob LaFlanbo, I saw a


591
00:45:24,160 --> 00:45:25,160
point.


592
00:45:25,160 --> 00:45:30,920
I can't imagine what a Marvel comedy would look like but here it is, you know, it has a semi


593
00:45:30,920 --> 00:45:39,800
tragic ending but a like one and it has almost comic cops shooting toy get done with


594
00:45:39,800 --> 00:45:41,800
that and he shots coming out of them.


595
00:45:41,800 --> 00:45:47,240
That obviously to Melville was extremely funny and I'm sure God would have had a right


596
00:45:47,240 --> 00:45:48,240
chuckle of it too.


597
00:45:48,240 --> 00:45:53,640
I was sure and then co-opted a bunch of it for his first film.


598
00:45:53,640 --> 00:46:00,680
I don't know if either of you have seen two men in Manhattan but, totally, it almost reminds


599
00:46:00,680 --> 00:46:07,880
me of that more than any of his other films because like even the early melodramas, even


600
00:46:07,880 --> 00:46:15,480
if they're about the sort of romances, they all feel really kind of grim and tragic from the


601
00:46:15,480 --> 00:46:21,040
beginning and so not even they have the lightness that you see here, it's so strange.


602
00:46:21,040 --> 00:46:26,400
Two men in Manhattan was deliberately playful like Bob LaFlanbo, it's almost like a mirror


603
00:46:26,400 --> 00:46:34,240
film where you've got the Frenchman in New York as opposed to the Hollywood style gangster


604
00:46:34,240 --> 00:46:35,480
in Paris.


605
00:46:35,480 --> 00:46:39,320
So I've never watched them back to back but I feel like that would make a really interesting


606
00:46:39,320 --> 00:46:40,320
double feature.


607
00:46:40,320 --> 00:46:46,040
Yeah, it was very nice, shouldn't have been to do in her book, jump here in Melville in American


608
00:46:46,040 --> 00:46:47,440
Paris.


609
00:46:47,440 --> 00:46:52,840
She groups those two in another film together and I'm trying to remember which one it is if


610
00:46:52,840 --> 00:46:58,560
it's magnet of doom or it's definitely not the second breath and it's not like do though.


611
00:46:58,560 --> 00:47:03,360
I think it's magnet of doom because they have this like road trip.


612
00:47:03,360 --> 00:47:05,040
That's the one where he goes to the U.S.


613
00:47:05,040 --> 00:47:07,640
Yeah, that's where Belmont goes to the U.S.


614
00:47:07,640 --> 00:47:12,760
Yeah, Belmonto in a in a convertible driving through Texas.


615
00:47:12,760 --> 00:47:13,760
It's wonderful.


616
00:47:13,760 --> 00:47:19,880
It's like Paris, Texas with laughs and I'm so glad now that that one's a lobby's here to find


617
00:47:19,880 --> 00:47:24,880
because that one for me for the longest time was the toughest Melville you could not find


618
00:47:24,880 --> 00:47:28,880
that decent print of it anyway for any money in the world.


619
00:47:28,880 --> 00:47:35,880
All considered he didn't make that many films and to have things like Lidulo, Sonlas Samurai


620
00:47:35,880 --> 00:47:42,240
and Lestruckler Rouge be so acclaimed but like half of his films you could barely find


621
00:47:42,240 --> 00:47:43,240
for a while.


622
00:47:43,240 --> 00:47:46,160
It's so weird because they're all great.


623
00:47:46,160 --> 00:47:50,920
And I think there's even more books about him that are just French only that they're


624
00:47:50,920 --> 00:47:52,480
not translated at all.


625
00:47:52,480 --> 00:47:55,640
It's like come on guys, we deserve it.


626
00:47:55,640 --> 00:47:59,000
We like Melville over here as well, you should maybe think about it.


627
00:47:59,000 --> 00:48:01,240
So speaking of let's go ahead, we're going to take a break.


628
00:48:01,240 --> 00:48:05,920
We'll return with an interview with Chinat Vincent, the author of Jean-Pierre Melville and American


629
00:48:05,920 --> 00:48:08,400
Paris right after these brief messages.


630
00:48:08,400 --> 00:48:11,840
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631
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633
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634
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639
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640
00:48:38,920 --> 00:48:44,600
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641
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642
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647
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649
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650
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651
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652
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656
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657
00:49:39,520 --> 00:49:43,560
Hi, I'm Dave Kittrich, Phil Maker and Los Angeles, and I'm the host of the Outcast,


658
00:49:43,560 --> 00:49:45,000
presented by Outfest.


659
00:49:45,000 --> 00:49:50,800
A new podcast where I have conversations with LGBT creators and allies to discuss their work,


660
00:49:50,800 --> 00:49:55,240
their inspirations, their passions, and the challenges of getting our authentic voices heard.


661
00:49:55,240 --> 00:49:57,200
I was scared, except I thought, "Oh, what am I doing?


662
00:49:57,200 --> 00:49:58,720
Like, here I am selling my soul."


663
00:49:58,720 --> 00:50:02,240
But when I realize what the movie was, it's like, "I mean, let's do, let's make this wonderful


664
00:50:02,240 --> 00:50:06,040
movie, the freedom of ad libbing and letting things happen in the moment with Steven


665
00:50:06,040 --> 00:50:10,920
Trask, let's write something that involves stand-up comedy, drag, punk rock."


666
00:50:10,920 --> 00:50:17,040
And it was so rebellious and percosious, I guess, the definition of gay to me is freedom.


667
00:50:17,040 --> 00:50:18,680
Women gave to show its life, I feel like.


668
00:50:18,680 --> 00:50:20,320
Well, it's also a bit of a hunkfest.


669
00:50:20,320 --> 00:50:22,320
You guys are hot as hell.


670
00:50:22,320 --> 00:50:23,320
You are too kind.


671
00:50:23,320 --> 00:50:26,560
It's like, "Five 10 years ago."


672
00:50:26,560 --> 00:50:30,160
It's a no-holds bar talk with iconic creators and performers.


673
00:50:30,160 --> 00:50:32,360
It's not "F*** white people, it's not."


674
00:50:32,360 --> 00:50:33,360
I hate white people.


675
00:50:33,360 --> 00:50:34,520
It's dear white people.


676
00:50:34,520 --> 00:50:35,920
It's how you start a letter.


677
00:50:35,920 --> 00:50:39,720
The whole climax of the show is a sex scene between Nalkeur and Vendla.


678
00:50:39,720 --> 00:50:45,320
And I remember feeling personally self-conscious about never having been with a woman in any relationship


679
00:50:45,320 --> 00:50:46,320
before.


680
00:50:46,320 --> 00:50:47,320
I'm always thinking about the audience.


681
00:50:47,320 --> 00:50:49,520
Make the bill, make the black, make the crime.


682
00:50:49,520 --> 00:50:50,760
That's as simple as it is for me.


683
00:50:50,760 --> 00:50:56,400
I had been not wanting to be a part of the film, but was clear in the edit that I had to really


684
00:50:56,400 --> 00:50:57,400
reshape it.


685
00:50:57,400 --> 00:50:59,960
The film really told me what it needed to be.


686
00:50:59,960 --> 00:51:04,600
Cinema is an empathy machine and it sort of allows you to see yourself in people's faces


687
00:51:04,600 --> 00:51:06,720
that you normally wouldn't see humanity in.


688
00:51:06,720 --> 00:51:08,520
I'm getting most going to start talking about it.


689
00:51:08,520 --> 00:51:10,520
And the tea is definitely spilled.


690
00:51:10,520 --> 00:51:12,920
Say that doubted anything at this doubt.


691
00:51:12,920 --> 00:51:13,920
No, no, no.


692
00:51:13,920 --> 00:51:15,120
I don't need to hear all the charming stories.


693
00:51:15,120 --> 00:51:18,920
I want to hear the ugly, gory relationship that's human on the ham.


694
00:51:18,920 --> 00:51:20,320
We're cutting that part out by the way.


695
00:51:20,320 --> 00:51:25,480
And we guess like John Cameron Mitchell, Christine Vaishan, LeBurn Cox, Jonathan Grough,


696
00:51:25,480 --> 00:51:30,880
Justin Simian, Jim Fal, Miss Coco Peru, Rachel Mason, Jeffrey Schwartz, HP


697
00:51:30,880 --> 00:51:35,520
Mendoza, and Fabulous Queens, Changelog Yurika, and Bob the Drag Queen.


698
00:51:35,520 --> 00:51:38,520
I'm sweating the house now.


699
00:51:38,520 --> 00:51:40,520
Can never know what's going to come up.


700
00:51:40,520 --> 00:51:44,520
You know me, I'm so big and strong that Yurika and Bob actually high behind me.


701
00:51:44,520 --> 00:51:45,520
And I protect you.


702
00:51:45,520 --> 00:51:47,520
Why don't you all wash Bob?


703
00:51:47,520 --> 00:51:48,520
She does.


704
00:51:48,520 --> 00:51:50,520
Oh, wait, she we haven't had security.


705
00:51:50,520 --> 00:51:52,520
I think they think I'm the security bitch.


706
00:51:52,520 --> 00:51:57,520
It's season one of the outcast presented by Outfest premiering in the summer of 2020.


707
00:51:57,520 --> 00:51:59,520
Hope you can join us.


708
00:52:04,520 --> 00:52:07,520
Before we even start to talk about Melbourne, I'm so curious about you.


709
00:52:07,520 --> 00:52:10,520
Can you tell me how you got into academia and writing about foam?


710
00:52:10,520 --> 00:52:15,520
I'm French obviously and I studied English in Paris at the University of the Soba


711
00:52:15,520 --> 00:52:17,520
and I English Language and Literature.


712
00:52:17,520 --> 00:52:22,520
And then I moved to England theoretically for one year as part of my degree.


713
00:52:22,520 --> 00:52:25,520
And then met my husband and saw that I stayed.


714
00:52:25,520 --> 00:52:28,520
And then I happened to be in a town called Norwich.


715
00:52:28,520 --> 00:52:30,520
This was in the mid late 70s.


716
00:52:30,520 --> 00:52:35,520
And when film studies was really beginning to be developed at the time.


717
00:52:35,520 --> 00:52:40,520
And where I was happened to be a place where there were a couple of the pioneers of


718
00:52:40,520 --> 00:52:41,520
studying film.


719
00:52:41,520 --> 00:52:44,520
And I always was a fan of cinephile.


720
00:52:44,520 --> 00:52:46,520
I was always loved the cinema.


721
00:52:46,520 --> 00:52:48,520
I started the women's film festival there.


722
00:52:48,520 --> 00:52:53,520
What I was in that town and also started PhD in film.


723
00:52:53,520 --> 00:52:58,520
Which I did on French cinema in the 1930s with and this is where I got interested in


724
00:52:58,520 --> 00:53:02,520
a genre by the people of Morocco which you tell me you like.


725
00:53:02,520 --> 00:53:04,520
And this is how it started.


726
00:53:04,520 --> 00:53:06,520
What was the first mobile film that you ever saw?


727
00:53:06,520 --> 00:53:08,520
Lusamurai.


728
00:53:08,520 --> 00:53:12,520
I saw it when it was re-shoed in the UK in 1996.


729
00:53:12,520 --> 00:53:18,520
I had to say earlier on when I was younger and in France and these films were coming out.


730
00:53:18,520 --> 00:53:21,520
I didn't really register with me.


731
00:53:21,520 --> 00:53:22,520
So it was later.


732
00:53:22,520 --> 00:53:26,520
And when Lusamurai was re-shoed in 1996 in the UK.


733
00:53:26,520 --> 00:53:28,520
And I saw it that I was really in pro-noverbite.


734
00:53:28,520 --> 00:53:32,520
I thought this is such a fantastically beautiful film.


735
00:53:32,520 --> 00:53:38,520
So I then became interested in Melville and started looking for these other films.


736
00:53:38,520 --> 00:53:40,520
And it's a let me ask to that.


737
00:53:40,520 --> 00:53:42,520
I was commissioned to write a book.


738
00:53:42,520 --> 00:53:46,520
Somebody said would you like to write a book about Melville for a particular collection.


739
00:53:46,520 --> 00:53:47,520
For Manchester University press.


740
00:53:47,520 --> 00:53:51,520
And in fact, I didn't do it for them because their books were very short.


741
00:53:51,520 --> 00:53:54,520
And I said he deserves more.


742
00:53:54,520 --> 00:53:58,520
And so I then contacted the British Women's Institute and they said yes would like you to.


743
00:53:58,520 --> 00:54:00,520
So this is how the book came about.


744
00:54:00,520 --> 00:54:08,520
So it was really that moment of Lusamurai coming out which for me marked my own interest in Melville.


745
00:54:08,520 --> 00:54:12,520
And I think a lot of people as well because this is when he's reputation.


746
00:54:12,520 --> 00:54:18,520
At that moment I think marked the time when he's reputation suddenly had a sort of second life.


747
00:54:18,520 --> 00:54:22,520
What kind of challenges were there writing a whole book about Melville and all of his films?


748
00:54:22,520 --> 00:54:32,520
In one sense it was easy because Melville is somebody who made relatively few films since he made 13 feature films.


749
00:54:32,520 --> 00:54:36,520
Which is relatively a very containable number.


750
00:54:36,520 --> 00:54:38,520
As it happened because this was the late 90s.


751
00:54:38,520 --> 00:54:42,520
They all became available on the HS and DVD.


752
00:54:42,520 --> 00:54:46,520
So I didn't have any problem accessing the material in terms of the films.


753
00:54:46,520 --> 00:54:51,520
The challenges were more to do with the lack of our cargo material.


754
00:54:51,520 --> 00:54:56,520
The lack of material on his life, the fact that he's relatively mysterious person.


755
00:54:56,520 --> 00:55:02,520
But because I wasn't going to write the biography anyway, I was writing a book about his films, primarily.


756
00:55:02,520 --> 00:55:04,520
And I had the films.


757
00:55:04,520 --> 00:55:09,520
So this made it much easier for me because I could really cause it the whole career.


758
00:55:09,520 --> 00:55:16,520
One thing I love about your book is just the way that you position him in the entire landscape of French film.


759
00:55:16,520 --> 00:55:22,520
And how his gangster films differed from the gangster films that were coming out before it or around it.


760
00:55:22,520 --> 00:55:24,520
I really love that.


761
00:55:24,520 --> 00:55:25,520
Well thank you.


762
00:55:25,520 --> 00:55:28,520
I mentioned writing my thesis about French cinema in 1930s.


763
00:55:28,520 --> 00:55:34,520
And I dropped a lot of genre bar and got interested in the poetic realism of course of the 1930s.


764
00:55:34,520 --> 00:55:36,520
Many of which are crime films.


765
00:55:36,520 --> 00:55:41,520
And then a film like "Pin Marco" is a kind of ancestor of the French gangster film.


766
00:55:41,520 --> 00:55:45,520
And I like that so much that I wanted to see how this carried on after the war.


767
00:55:45,520 --> 00:55:52,520
And of course, Gabba and Stals was instrumental in the revival of the gangster film after the war with Toshippa,


768
00:55:52,520 --> 00:55:54,520
or Gillesby in 1954.


769
00:55:54,520 --> 00:56:04,520
And I was very interested in this particular genre of French crime films where crime movies and as well as the whole landscape of French cinema.


770
00:56:04,520 --> 00:56:10,520
But in that post-war period when Melville emerges is a particularly interesting period.


771
00:56:10,520 --> 00:56:16,520
But in the French cinema because you have in parallel the popular genre films like "The gangster film" for instance.


772
00:56:16,520 --> 00:56:21,520
But you also have the beginning of the new wave in the late '50s of a kind of different kind of film.


773
00:56:21,520 --> 00:56:31,520
So I think Melville and certainly Bob Lefbombos of film that can be used fully seen as in between those traditions or belonging to Bob Lefbino.


774
00:56:31,520 --> 00:56:34,520
I was at an interest in popular French cinema.


775
00:56:34,520 --> 00:56:41,520
In the films that people actually like to see as opposed to simply the great films that critic recognized.


776
00:56:41,520 --> 00:56:48,520
Of course, when you look at the 1930s, like for my thesis, they are sometimes where they're the same.


777
00:56:48,520 --> 00:56:55,520
So films like or Pepino Rocco, they're great films like "Great filmmakers" but they're also extremely popular with the public.


778
00:56:55,520 --> 00:57:01,520
I'm always interested in how the films fare with the public, how they're embedded in the culture at the time.


779
00:57:01,520 --> 00:57:11,520
Melville was perfect figure because he was both a very idiosyncratic figure, a very original unique, somebody who liked to control everything and made,


780
00:57:11,520 --> 00:57:16,520
I think he's filmed like all like no other. They extremely recognizable.


781
00:57:16,520 --> 00:57:22,520
And at the same time, especially from Latin English and one of them was, they were very popular with the audience.


782
00:57:22,520 --> 00:57:29,520
He was a very well known figure. So he lived in both worlds in the cinema that the critics recognize.


783
00:57:29,520 --> 00:57:36,520
But also the cinema that people actually like to go and see in the cinema and films that did very well at the box office.


784
00:57:36,520 --> 00:57:47,520
And also because I have always worked on Gabba, I was had an interest in stars in May, Lainfim, and of course Melville's film from Leon Moran-Pret,


785
00:57:47,520 --> 00:57:53,520
almost the views great stars of French cinema, like Alad Alon, Jean-Paul-Meldon, Edward Soltz.


786
00:57:53,520 --> 00:58:01,520
So to me it was a figure combined all these different aspects of the cinema and that made him really fascinating.


787
00:58:01,520 --> 00:58:08,520
Yeah, I love that idea that he's neither fish nor foul, but he is new wave tradition of quality,


788
00:58:08,520 --> 00:58:12,520
but that just makes him stay in the part from the crowd.


789
00:58:12,520 --> 00:58:15,520
That's right, yes, yes. It's a very idiosyncratic figure.


790
00:58:15,520 --> 00:58:23,520
And also one of the interesting aspects of which was concentrated in his name, already his name is Lux,


791
00:58:23,520 --> 00:58:29,520
and so on was that he was French filmmaker, but also very influenced by American cinema.


792
00:58:29,520 --> 00:58:36,520
He loved American films, and although I spent quite a lot of time in my book, a refuting the idea that his films were just copies of American films,


793
00:58:36,520 --> 00:58:42,520
which was one of the accusations that was made of his gangster films over his just imitating American cinema.


794
00:58:42,520 --> 00:58:49,520
And I think he's not, he's making a very specific hybrid between the French and the American tradition,


795
00:58:49,520 --> 00:58:54,520
that also made him an interesting sort of transnational figure to some extent.


796
00:58:54,520 --> 00:59:01,520
And that's why in my book, I had a sub that I was said in American, in Paris, this was a French man who looked,


797
00:59:01,520 --> 00:59:07,520
tried to look like an American with his destined stats on hat and big American cars and trench coats,


798
00:59:07,520 --> 00:59:15,520
a bit like figures in his film, and yet, and since that was completely a figure of Perce war French culture,


799
00:59:15,520 --> 00:59:21,520
and in Bartolso, because he himself was part of history, he had been in the resistance during the war,


800
00:59:21,520 --> 00:59:29,520
he was somebody very much embedded in French history as well as completely fascinated with American culture and American cinema.


801
00:59:29,520 --> 00:59:34,520
The whole idea of him being in the resistance colors so much of his work,


802
00:59:34,520 --> 00:59:41,520
especially, I would say some of the gangster films, and especially the idea of the honor and the code that some of these folks live by,


803
00:59:41,520 --> 00:59:49,520
as opposed to the younger generation, as opposed to some of the people that might have betrayed that code that were around during the war.


804
00:59:49,520 --> 00:59:56,520
Melvin, like both gangster films, but when you look at his war films, especially Arme in the Shadow, that he's 69,


805
00:59:56,520 --> 01:00:02,520
and you look at his gangster films, they're very similar, and people sometimes say he makes his war films like gangster films


806
01:00:02,520 --> 01:00:09,520
and he's gangster films are a bit like war films, and watching Bob LaFlamour again, the other night,


807
01:00:09,520 --> 01:00:16,520
I was reminded of how many references they are in the film to the period of the German occupation of France,


808
01:00:16,520 --> 01:00:22,520
and the look of the film really, although it's made in 1956, it could have been ten years before,


809
01:00:22,520 --> 01:00:27,520
it could have been during the 1940s during the German occupation,


810
01:00:27,520 --> 01:00:33,520
and this constantly references in the dialogue to things are not the same anymore, everything is rotten now,


811
01:00:33,520 --> 01:00:40,520
people don't respect the codes which were the pre-war codes, and of course it's veiled reference to the German occupation,


812
01:00:40,520 --> 01:00:49,520
and the burden you placed on the French population, of course, and all the difficulties, but also as well known ambiguity between the Gestapo,


813
01:00:49,520 --> 01:00:55,520
the collaborations forces and the criminal underworld, and this well known Gestapo user brought it from the underworld,


814
01:00:55,520 --> 01:01:01,520
and so there's a kind of blood bordered between the two, and I think that the gangster film is very oblique,


815
01:01:01,520 --> 01:01:04,520
sometimes it's sometimes more direct references to that.


816
01:01:04,520 --> 01:01:11,520
One of the things which I did not develop in my book, but subsequently, I've been looking at is the figure of Roger Duché,


817
01:01:11,520 --> 01:01:21,520
and the actor who plays Bob LaFlamour himself, someone who was implicated in a fairly ambiguous way in activities of the Gestapo,


818
01:01:21,520 --> 01:01:27,520
he had links with the Gestapo, he had trouble with the law, and he also went to jail as somebody,


819
01:01:27,520 --> 01:01:39,520
so he's somebody who I think Melvin used very deliberately as a kind of embodiment of that very blood boundary between the law and the criminal underworld,


820
01:01:39,520 --> 01:01:42,520
that was much more in evidence during the war.


821
01:01:42,520 --> 01:01:50,520
And also if you look at Bob LaFlamour, the look of the film, the cast that I used, the famous Cetaxia,


822
01:01:50,520 --> 01:01:55,520
I've all the big black cast, which in the film that I used both by the police and by the gangsters,


823
01:01:55,520 --> 01:01:59,520
and they very typical of that period, if in that you could be during your occupation.


824
01:01:59,520 --> 01:02:06,520
It's both historically accurate to some extent, but also something which Melvin uses for stylistic purposes as well.


825
01:02:06,520 --> 01:02:15,520
You think there's any truth to Melville talking about how he had to go to the underworld to ask permission to use Duché for Bob LaFlamour?


826
01:02:15,520 --> 01:02:18,520
Yeah, I don't know, I'm not sure whether that's true or not.


827
01:02:18,520 --> 01:02:25,520
It sounds like one of those very nice anecdotes, but there are different accounts of Duché and actual implication with the Gestapo,


828
01:02:25,520 --> 01:02:30,520
whether he only borrowed money from them or whether he was more implicated than that.


829
01:02:30,520 --> 01:02:39,520
It's all fairly mysterious, but certainly it suits Melvin's purpose to have someone who not only looks the part,


830
01:02:39,520 --> 01:02:44,520
but actually embody it in his person, the ambiguities of that period.


831
01:02:44,520 --> 01:02:53,520
I really appreciate that Duché is older and distinguished and that he has this kind of mock family between Anna and Paolo,


832
01:02:53,520 --> 01:02:57,520
and I just appreciate that family dynamic that they have going on here.


833
01:02:57,520 --> 01:03:10,520
The basic is one of the significant aspects of the French gangster film of that period, of the 1950s in particular, which is the way in which the gangs are organised like a family with the main character as the patriarch.


834
01:03:10,520 --> 01:03:20,520
I think distinguishes the French films, as I said from the American world, and Gaban's character in Rizby and Duché's character in Bob, this is somebody who's tired,


835
01:03:20,520 --> 01:03:31,520
who's at the end of his life, who only aspires to lead a sort of comfortable, almost a brochure life going to the bars in his area,


836
01:03:31,520 --> 01:03:39,520
and then of course there is that trope of doing the last job, which we know will be fatal to some extent, of course, because it's part of the genre,


837
01:03:39,520 --> 01:03:46,520
but it's such a recarimentative in the French gangster film that I think it really marks them out from the concerns,


838
01:03:46,520 --> 01:03:50,520
which are much more based on action and tend to have younger, married characters.


839
01:03:50,520 --> 01:03:55,520
But this patriarchal figure, this old man, who wants to do the last job before,


840
01:03:55,520 --> 01:04:02,520
in a way, wants to retire and have a quiet life, and as in Bob La Flombe, lives in a very nice apartment,


841
01:04:02,520 --> 01:04:08,520
King the Inormat, is also part of actually a much wider type of narrative in French cinema,


842
01:04:08,520 --> 01:04:13,520
others will go back to the beginning with the patriarchal figure at the centre,


843
01:04:13,520 --> 01:04:20,520
and usually with a sort of symbolic family with the young son, so in Bob La Flombe we have put over the young man,


844
01:04:20,520 --> 01:04:24,520
and a kind of semi-incessuous relationship with the young woman.


845
01:04:24,520 --> 01:04:30,520
It was very conspicuous, that the young characters can only be in the story if they are there,


846
01:04:30,520 --> 01:04:34,520
except to be within the orbit of the patriarch. They're not going to challenge his place.


847
01:04:34,520 --> 01:04:41,520
They're just like the son and daughters, and of course what is out of the picture is the older woman,


848
01:04:41,520 --> 01:04:46,520
who tends to be very marginalized, and although it's true that most gangster film,


849
01:04:46,520 --> 01:04:54,520
marginalized women, it's typically a major, not just in French cinema, but I think it in French in the main, in particular,


850
01:04:54,520 --> 01:05:00,520
it's that sort of a kind of almost like a benevolent figure, and we see him providing for these young people,


851
01:05:00,520 --> 01:05:05,520
slupping them when they're not, don't behave as they should, but this is the 9 behaviour.


852
01:05:05,520 --> 01:05:14,520
This is the way I portray, and I think it's very specific to the cinema, because if you read the books on which those films are based,


853
01:05:14,520 --> 01:05:19,520
such as the work of Guslaboru-Ton, which scripted by all the book on which Chris Bays,


854
01:05:19,520 --> 01:05:28,520
they are much nastier, they're much more violent, they're much more misogynist, and so it's a much more bitter and violent world,


855
01:05:28,520 --> 01:05:37,520
than where the films sort of portray this kind of rather nice and benign, the real families are never there.


856
01:05:37,520 --> 01:05:43,520
These people don't have bones to go to their wife or their children, the sorrow gauge homers in the cafe,


857
01:05:43,520 --> 01:05:48,520
where they meet their characters, so to me, this is one of the channels of the gangstrapians of that period,


858
01:05:48,520 --> 01:05:51,520
and Bob Ruflabor is very typical of that.


859
01:05:51,520 --> 01:05:54,520
How did Melville and the women in his films?


860
01:05:54,520 --> 01:05:59,520
Generally speaking, Melville is because he chose to work with George, that's a tradition in the masculine,


861
01:05:59,520 --> 01:06:06,520
like the gangster film, the majority of his films are portray a world which is mostly male,


862
01:06:06,520 --> 01:06:13,520
in which women are marginal, they're either even, the woman who runs the barring bubble in the flumber,


863
01:06:13,520 --> 01:06:19,520
against very benevolent and figure, they're not treated as unpleasant or aggressive,


864
01:06:19,520 --> 01:06:25,520
but they're really marginalised, or as in their work, they're sort of rules to be an early buy,


865
01:06:25,520 --> 01:06:32,520
and one says the certainty that the heterosexual sexuality of the characters, but they play really very small role,


866
01:06:32,520 --> 01:06:37,520
and some of the films like a practically eliminated women.


867
01:06:37,520 --> 01:06:44,520
And then there are two exceptions in his work, one is the film you made in the 1993, really.


868
01:06:44,520 --> 01:06:49,520
His first film, "Mare, the Resistance" gives the woman quite a prominent role.


869
01:06:49,520 --> 01:06:53,520
Now it's the adaptation of the book, so it's actually following what that book does,


870
01:06:53,520 --> 01:06:59,520
and then he made a melodrama called "Setlet" when you read that letter within the 50s again,


871
01:06:59,520 --> 01:07:04,520
and we were a character playing by Juliette Greco, the singer as Juliette Greco, as part of it,


872
01:07:04,520 --> 01:07:09,520
it's a melodrama, so a lot of story, so she has quite an important role,


873
01:07:09,520 --> 01:07:17,520
and then there is one of my favorite films by me, which is Leon, the story of the relationship between a Catholic priest,


874
01:07:17,520 --> 01:07:24,520
played by Jean-Premont-Dre, and a woman who falls in love with him, and their discussions about religion and so on.


875
01:07:24,520 --> 01:07:31,520
But this is a book that is an adaptation of another written by a woman, it's an autobiographical woman,


876
01:07:31,520 --> 01:07:39,520
or a novel by a woman who is returning her story, said during the war.


877
01:07:39,520 --> 01:07:45,520
But these are very much the early exception, and then everything else, all the great gangster films,


878
01:07:45,520 --> 01:07:55,520
Leon-Dre, even a flick, which has Catherine de Nœve, as a big female star, but it's really a marginal place.


879
01:07:55,520 --> 01:08:07,520
So, Melvis, his main movies are really films about men and about masculinity, and he chose the genres that enable him to do that.


880
01:08:07,520 --> 01:08:16,520
So I think the very interesting studies of masculinity, but I'd say if one looks for important female roles in his films, then they're all there.


881
01:08:16,520 --> 01:08:23,520
So I think it's a function of the genre, and it's a function of his interest in those masculine figures.


882
01:08:23,520 --> 01:08:31,520
And when one looks at his image with the trench coat and the stets on the head, you know, when he has this sort of masculine figure,


883
01:08:31,520 --> 01:08:37,520
which at the same time, as the time of someone who was very cultured, was married or his life,


884
01:08:37,520 --> 01:08:45,520
personally, I don't see Melvis as misogynist, but I think it's someone who was interested in a predominantly male culture.


885
01:08:45,520 --> 01:08:58,520
Having only been to Paris one time, can you tell me a little bit more as far as the landscape, and especially the whole idea of Momar and Pigal, and how those were in the 1950s versus today?


886
01:08:58,520 --> 01:09:03,520
With the beginning of Bob Leflon, there's a very funny moment when we begin in Momar.


887
01:09:03,520 --> 01:09:17,520
I think first, it's important to say that a lot of Bob Leflon is shot on location in the streets of Momar and Pigal, and part of the pleasure of watching the film is also to see those areas as they were.


888
01:09:17,520 --> 01:09:24,520
Of course, Momar and Pigal are very touristy places, now they tend to be always very crowded.


889
01:09:24,520 --> 01:09:39,520
One of the pleasures in Bob Leflon, especially at the beginning, is that where we are dawn and we see those empty streets of Paris, it's something which today would be almost impossible to see, even that time of the day.


890
01:09:39,520 --> 01:09:53,520
The film begins on top of the Momar pill near the church, and we see the panoramic shots that shows us the city below and at daybreak.


891
01:09:53,520 --> 01:10:08,520
This is a very poetic image. And Melville makes a little joke about saying that it's like heaven, and then we see the camera goes down with the cable car that tourist date to go up and down and says, "Pigal is hell."


892
01:10:08,520 --> 01:10:23,520
He's making a little joke about the fact that Momar feels hands-for-charge, particularly associated with the Sacrique church. And also at the time, and to some extent today, although today, of course, it's a vintage place.


893
01:10:23,520 --> 01:10:38,520
Still like a village, even today, if you go to Momar, you go away from Plasdutär, where all those painters are with a million tourists, like a few little streets, and you really could be in a 19th century village.


894
01:10:38,520 --> 01:10:53,520
Quite extraordinary, of course, it's been preserved in Aspe, into some extent, but it really looks like a village, and you're in the film, some little houses and so on. And then Pigal was the centre of Sleazy Nightlife and prostitution.


895
01:10:53,520 --> 01:11:17,520
So, the building scene in Mavla from Bavla, we see very clearly all those nightclubs, which advertise the most daring, strippedies and naked women, even then in the 1950s, it was a place where they're slightly naive tourists from the provinces, or abroad, would come and be fleeceing one of those nightclubs with female hostesses.


896
01:11:17,520 --> 01:11:44,520
And that division is still there, although strippedies and nightclubs, as well as don't have the sense of daring image as they did at the time. But nevertheless, there's still something slightly sleazy about Pigal, it's part of its image, and something more both elevated geographically, but also the sense of Momar as this kind of toy, quite corner of Paris, where you could always be, it's like being a village.


897
01:11:44,520 --> 01:12:13,520
It's making a little joke of it, but actually it's still like that today, as I say, I think it's like that today in a way that is, yeah, it's preserving aspect, it's very touristy, and many people who know a little bit about Francinema, for example, would remember if you were like Amelie, which was made in the early years of the 21st century, and which is also setting Momar, and very different visually much like stream and in color, but nevertheless preserves also that image of the little streets, the quiet streets, the cafe,


898
01:12:13,520 --> 01:12:23,520
the sort of slightly provincial air, but what is fascinating in Bob Lefromos to actually see the real streets and the real cafe in which the characters go.


899
01:12:23,520 --> 01:12:29,520
We talk a little bit about the relationship between Bob and Roger and what your feelings are on that.


900
01:12:29,520 --> 01:12:40,520
Bob is presented as a patriarchal figure, a quiet old man who leads a fairly bourgeois quiet life, even though he's against her and he's about to rub the casino into the wheel.


901
01:12:40,520 --> 01:12:44,520
He's co-siers, brings his clean clothes and cleans the flood.


902
01:12:44,520 --> 01:12:57,520
It has this kind of very regular quiet life. He's the head of his little family, the patriarch, there's symbolic son, Polo, the symbolic daughter, and the young woman, he more like, "Spick up on the streets of Pellal."


903
01:12:57,520 --> 01:13:03,520
But he's not interested in her sexually, and this is quite clear. In fact, he pushes her in Polo's arms.


904
01:13:03,520 --> 01:13:11,520
And the really important character in his life, in the sense of the person who's always back his side, is his friend.


905
01:13:11,520 --> 01:13:21,520
So the most important person in his life is Roger, who's an accolade, another minor, against a figure who runs one of the night clubs that he frequents.


906
01:13:21,520 --> 01:13:31,520
Bob La Flombe, or the Flombe, is a slang term for gambling, and we see that Bob is passionate gambler, which is leads him to his both his doom.


907
01:13:31,520 --> 01:13:36,520
But also to the great fortune in the casino at the end of the film.


908
01:13:36,520 --> 01:13:47,520
And so what is interesting is that there's always that quiet presence by his side, who is Roger, and even though there is absolutely no indication of homosexuality between them,


909
01:13:47,520 --> 01:14:00,520
I find it's very striking that Roger plays the role of the wife. He's always the voice of reason. He's saying, "Now you shouldn't. You should stop gambling now. Come on. You should go to bed. It's late. And you shouldn't do that. And are you sure?"


910
01:14:00,520 --> 01:14:06,520
And all the time, they're together, and they are quite a number of seats, where they're together sitting in the car.


911
01:14:06,520 --> 01:14:22,520
And looking at each other, and one knows that they know each other incredibly well is very much an old couple. And very often people have speculated on Melvin as a closet homosexual, as representing homosexuality in his film.


912
01:14:22,520 --> 01:14:37,520
And I think that is in a way in exaggeration, because in the sense that there's nothing in the films that enables you to say that. But in the same way, the films are all very much about a male world, where the significant relationships are between the male characters.


913
01:14:37,520 --> 01:14:55,520
And again, with no implication of sexuality, certainly not explicitly, the real couple in Bob Luslombard is Bob and Roger, and he doesn't seem to have another life in a way. I think that's, and it's a very affectionate relationship. It's like a no couple.


914
01:14:55,520 --> 01:15:11,520
I was like his relationship to with Lidrue, the inspector, and that relationship that we see later on, and they do know between our main character and a police officer as well. I always like that back and forth that he has with those two types of characters.


915
01:15:11,520 --> 01:15:23,520
Yes, they're relationship with Lidrue is also very interesting and you're quite right. And I see it as both, this is part of this male world, where men who observe the same codes, understand each other and respect each other.


916
01:15:23,520 --> 01:15:39,520
So Lidrue respects Bob and Bob respects Lidrue. I think it's also an only comment on the occupation, the German occupation period, of a period when a time when there was this blood lines between the police and the criminal on the world.


917
01:15:39,520 --> 01:15:53,520
And it's at that point in the center of the beginning, in particular, when there's a discussion of Bob by Lidrue with one of his inspectors and who says the criminal isn't against her. And Lidrue said yes, he's a principal guy and he saved my life.


918
01:15:53,520 --> 01:16:05,520
And it's this network of honourable male figures who might be enemies, but or not, because they respect the same codes of behavior.


919
01:16:05,520 --> 01:16:06,520
What are you working on lately?


920
01:16:06,520 --> 01:16:22,520
I'm finishing a book about a French filmmaker called Claude Orton Larra, who was one of the great figures of the tradition of quality and worked, I had much longer career than Melville, he started in the 20s and went on to the early 70s.


921
01:16:22,520 --> 01:16:49,520
But he's great period was during the war and in the 50s, and he made great classics like everyone in the flesh and La Traverse et Paris, she's a great film about the German occupation. And I was, you ask him to talk about Melville reminded me that there's an interesting similarity because both in a web kind of difficult figure, but difficult in their practice, very demanding directors, very enthralling figures, a great filmmaker.


922
01:16:49,520 --> 01:17:03,520
But also filmmakers who's life really was their work, that obviously they had the private life, but it's very marginal and everything they did was geared to their filmmaking.


923
01:17:03,520 --> 01:17:09,520
They were terribly different, but nevertheless I suddenly see that there is a similarity between the two.


924
01:17:09,520 --> 01:17:19,520
You said that the Melville book you actually hired to write about Melville, but otherwise how do you pick your subjects?


925
01:17:19,520 --> 01:17:27,520
It's an interesting question. In a way, very often, one thing leads to another. And as I say, I'm within general field of French cinema, particularly in popular French cinema.


926
01:17:27,520 --> 01:17:46,520
I'm written on filmmakers of actors like Gabba, filmmakers Melville, and I was written quite a lot about the bardo. And the Gabba is sort of because in my thesis, which I did actually publish as a book, all the bits when published in different web, the chapter on Gabba became the book on Gabba.


927
01:17:46,520 --> 01:17:59,520
And then it became part of this book called Stars and Stars of French cinema where I have a range of stars and again, as a normal book, and I've been asked to update it and I should do it.


928
01:17:59,520 --> 01:18:19,520
And add some new more recent stars like Omar C for example. The bardo came out, yes, the bad interest in stars and following Gabba's career, then there were films like "On Cadmello", which is a film by Croidot Olaha, which has bardo and Gabba together.


929
01:18:19,520 --> 01:18:32,520
They're the only film where they are together. My two favorite stars and stars together in the same film. But yes, it's partly in the case of Melville. It was seeing the samurai.


930
01:18:32,520 --> 01:18:46,520
I'm guided by the material in the way. It's what interests me. There's so much, there's quite a lot still to be done about this kind of cinema. There is a feel as a coherence in a sense that a lot of it has to do with those populous filmmakers and stars off.


931
01:18:46,520 --> 01:18:52,520
Let's say from the 1930s to the 1960s, so far it's been really within that area.


932
01:18:52,520 --> 01:18:56,520
Professor Vincent, thank you so much for your time. This is great talking with you.


933
01:18:56,520 --> 01:19:01,520
Thank you for asking me and for thanks to you watching, oh good.


934
01:19:01,520 --> 01:19:12,520
When you visit Arizona, time is measured in moments, not minutes. Like the moment your work stress disappears as you kayak through the canyons.


935
01:19:12,520 --> 01:19:24,520
Or the moment you discover the life-changing effects of prickly paratalk lip. But nothing beats the moment you see the grand canyon for the very first time.


936
01:19:24,520 --> 01:19:31,520
Visit a new state of mind. Learn more at here-you-are-a-z.com.


937
01:19:31,520 --> 01:19:36,520
Hi, I'm Susan, and I'm Sharon, and we're the host of 80s TV ladies.


938
01:19:36,520 --> 01:19:39,520
Check us out wherever you find your favorite podcasts.


939
01:19:39,520 --> 01:19:52,520
And please like and follow us on Facebook, Instagram, and Twitter at 80s TV ladies. You can find interviews and exclusive behind-the-scenes content on all of your favorite 80s TV ladies.


940
01:19:52,520 --> 01:19:56,520
80s TV ladies is the place to go. Please join us.


941
01:19:56,520 --> 01:19:58,520
80s TV ladies.


942
01:19:58,520 --> 01:20:04,520
I've heard about a mouth change my ways.


943
01:20:04,520 --> 01:20:10,520
I lost this game, this is above the money game.


944
01:20:23,520 --> 01:20:29,520
I've heard about a lot of people who are in the same business.


945
01:20:29,520 --> 01:20:33,520
I've heard about a lot of people who are in the same business.


946
01:20:33,520 --> 01:20:35,520
I've heard about a lot of people who are in the same business.


947
01:20:35,520 --> 01:20:37,520
I've heard about a lot of people who are in the same business.


948
01:20:37,520 --> 01:20:41,520
I've heard about a lot of people who are in the same business.


949
01:20:41,520 --> 01:20:43,520
I've heard about a lot of people who are in the same business.


950
01:20:43,520 --> 01:20:47,520
I've heard about a lot of people who are in the same business.


951
01:20:47,520 --> 01:20:49,520
I've heard about a lot of people who are in the same business.


952
01:20:49,520 --> 01:20:51,520
I've heard about a lot of people who are in the same business.


953
01:20:51,520 --> 01:20:55,520
The only guy who could click and play on the system is the guy who can struggle against me.


954
01:20:55,520 --> 01:20:55,520
It means...


955
01:20:55,520 --> 01:20:59,520
If I see a mirror at the top of the guy, that's quite a surprise.


956
01:20:59,520 --> 01:21:01,520
I don't want anyone to surprise us.


957
01:21:01,520 --> 01:21:03,520
I don't want anyone to surprise us.


958
01:21:03,520 --> 01:21:05,520
I don't want anyone to surprise us.


959
01:21:05,520 --> 01:21:07,520
I don't want anyone to surprise us.


960
01:21:07,520 --> 01:21:09,520
He doesn't want money.


961
01:21:09,520 --> 01:21:11,520
He wants money, can I?


962
01:21:11,520 --> 01:21:17,520
He's not worth a freight charge.


963
01:21:17,520 --> 01:21:23,520
What I do to both your faces will definitely be Cubist.


964
01:21:23,520 --> 01:21:33,520
Rows you yours where she ends, no one else.


965
01:21:33,520 --> 01:21:39,520
Always breathe again to me.


966
01:21:39,520 --> 01:21:43,520
And the consequences are telling me.


967
01:21:43,520 --> 01:21:49,520
I know I'm gonna change that you.


968
01:21:49,520 --> 01:22:05,520
We're back and we're talking about Bob LaFlame Bear.


969
01:22:05,520 --> 01:22:09,520
I'm sorry to say folks, but we're going to have to talk about the remake


970
01:22:09,520 --> 01:22:13,520
that came out in 2003 by Neil Jordan.


971
01:22:13,520 --> 01:22:19,520
I was seeing before we started recording that I remembered this one being a lot worse than it is.


972
01:22:19,520 --> 01:22:21,520
I rewatched this morning.


973
01:22:21,520 --> 01:22:27,520
I had seen it in 2002, sorry, when it came out at the Toronto Film Festival.


974
01:22:27,520 --> 01:22:31,520
I don't remember if I knew it was a remake of Bob when I walked in.


975
01:22:31,520 --> 01:22:37,520
But I definitely realized it very quickly thereafter because we've got...


976
01:22:37,520 --> 01:22:41,520
We've got character names that are the same though.


977
01:22:41,520 --> 01:22:43,520
Roger is now the cop.


978
01:22:43,520 --> 01:22:49,520
Roger is now the cop and rather than Bob's good buddy that he has.


979
01:22:49,520 --> 01:22:51,520
It's interesting.


980
01:22:51,520 --> 01:22:55,520
It's like a distorted echo of the original one.


981
01:22:55,520 --> 01:22:57,520
Did you guys have a chance to see the good thief?


982
01:22:57,520 --> 01:22:59,520
So I haven't seen it in a few years.


983
01:22:59,520 --> 01:23:03,520
I think it's something that I rented out of sheer boredom.


984
01:23:03,520 --> 01:23:09,520
Neil Jordan, I grew up watching a lot of his films like Company of Wolves


985
01:23:09,520 --> 01:23:11,520
and interview with the vampire.


986
01:23:11,520 --> 01:23:15,520
And I think he's often a... he often makes flawed films,


987
01:23:15,520 --> 01:23:17,520
but they're always interesting.


988
01:23:17,520 --> 01:23:21,520
But this one, I couldn't bring myself to rewatch it.


989
01:23:21,520 --> 01:23:27,520
And I, you know, am a very outspoken hater of remakes.


990
01:23:27,520 --> 01:23:29,520
So that's I'm sure part of it.


991
01:23:29,520 --> 01:23:37,520
But I just don't understand why he would remake this movie and give him that kind of like that heroin motivation that he has.


992
01:23:37,520 --> 01:23:39,520
How depressingly post-war.


993
01:23:39,520 --> 01:23:41,520
There's really nothing...


994
01:23:41,520 --> 01:23:43,520
Maybe someone disagrees with me.


995
01:23:43,520 --> 01:23:47,520
But I don't think there's very much about heroin that's whimsical.


996
01:23:47,520 --> 01:23:49,520
I mean, maybe you could write a film like that.


997
01:23:49,520 --> 01:23:53,520
Maybe if you're a jacks into your funny bone.


998
01:23:53,520 --> 01:23:55,520
The level of acting is good.


999
01:23:55,520 --> 01:23:58,520
And Nick Nolty is Bob now.


1000
01:23:58,520 --> 01:24:01,520
And I like... and I fuck up his name every time.


1001
01:24:01,520 --> 01:24:05,520
Kiki Kyro playing Roger playing the LaDru role.


1002
01:24:05,520 --> 01:24:09,520
Sayed Tag Magui Ekikus' gentleman's name.


1003
01:24:09,520 --> 01:24:13,520
I always like when he shows up in things and he's pal though.


1004
01:24:13,520 --> 01:24:17,520
Yeah, it's got a really good solid cast to it.


1005
01:24:17,520 --> 01:24:19,520
But we start to go into this whole thing.


1006
01:24:19,520 --> 01:24:21,520
Now there's that just one house.


1007
01:24:21,520 --> 01:24:23,520
There's two high-sletter going on.


1008
01:24:23,520 --> 01:24:27,520
So we have Bob, as supposed to be doing the heist of the casino.


1009
01:24:27,520 --> 01:24:31,520
And with this one, he's very aware that the secret is out.


1010
01:24:31,520 --> 01:24:35,520
But he's like now using that against the police and against the...


1011
01:24:35,520 --> 01:24:39,520
The Pimp now, who's not Raulul in this one.


1012
01:24:39,520 --> 01:24:41,520
I reme, I think, is Pimp in this one.


1013
01:24:41,520 --> 01:24:45,520
And so we've got that, plus there's an art heist.


1014
01:24:45,520 --> 01:24:49,520
And there's this whole thing about how Bob's got this Picasso painting.


1015
01:24:49,520 --> 01:24:51,520
And he tells us story about it every single time he's got it.


1016
01:24:51,520 --> 01:24:55,520
And then we find out later on in the movie that is actually a fake.


1017
01:24:55,520 --> 01:24:59,520
But maybe that's playing in with this art heist.


1018
01:24:59,520 --> 01:25:07,520
But then we find out from the Lidru character that all the artwork in the museum that they're about to rob is fake anyway.


1019
01:25:07,520 --> 01:25:09,520
It goes way too many places.


1020
01:25:09,520 --> 01:25:13,520
And it's got this kind of slick sheen of the early 2000s.


1021
01:25:13,520 --> 01:25:15,520
Very desaturated.


1022
01:25:15,520 --> 01:25:17,520
The color a lot of times.


1023
01:25:17,520 --> 01:25:21,520
We do this kind of weird slow motion effect a few times.


1024
01:25:21,520 --> 01:25:23,520
And yeah, just nicknlty.


1025
01:25:23,520 --> 01:25:27,520
I mean, that he's unherwined at the beginning.


1026
01:25:27,520 --> 01:25:29,520
And then he kicks the heroin halfway through.


1027
01:25:29,520 --> 01:25:33,520
He has to do this whole like, train-spawning thing.


1028
01:25:33,520 --> 01:25:35,520
And surprise there wasn't a baby going across the ceiling.


1029
01:25:35,520 --> 01:25:37,520
I was just like, okay, you know, me, like kicks her with him.


1030
01:25:37,520 --> 01:25:39,520
And then like two seeds.


1031
01:25:39,520 --> 01:25:39,520
I'm like, oh, okay.


1032
01:25:39,520 --> 01:25:45,520
And then the am character, I'm like, she's very, very centralized to this film.


1033
01:25:45,520 --> 01:25:47,520
And I'm just like, I don't care about her that much.


1034
01:25:47,520 --> 01:25:49,520
I care more about Nick Nolty.


1035
01:25:49,520 --> 01:25:53,520
And I care more about the Roger/Lidru character.


1036
01:25:53,520 --> 01:25:55,520
Well, thank God, I never bothered to watch it.


1037
01:25:55,520 --> 01:25:59,520
I need give me enough reasons not to.


1038
01:25:59,520 --> 01:26:01,520
And there there it is.


1039
01:26:01,520 --> 01:26:05,520
And I share the same, you know, to stay in for really makes in general.


1040
01:26:05,520 --> 01:26:09,520
I think Neil Jordan made one good gangster film and that was Mona Lisa.


1041
01:26:09,520 --> 01:26:13,520
So I think with the memory of Bob Hoskins being a


1042
01:26:13,520 --> 01:26:17,520
him-per-sharfer, good.


1043
01:26:17,520 --> 01:26:19,520
Mona Lisa is absolutely incredible.


1044
01:26:19,520 --> 01:26:27,520
And from what I remember if the good thief, the problem is that it's one of those movies that just constantly


1045
01:26:27,520 --> 01:26:31,520
reminds you of better movies you could be watching.


1046
01:26:31,520 --> 01:26:33,520
Mona Lisa is one of them.


1047
01:26:33,520 --> 01:26:37,520
An American friend with whole art-hiced thing is another one.


1048
01:26:37,520 --> 01:26:39,520
And of course, the original.


1049
01:26:39,520 --> 01:26:47,520
It's just, it almost feels like the sort of thing where if the plot had been different and it hadn't been so


1050
01:26:47,520 --> 01:26:51,520
obviously a bubble flumber remake maybe could be better.


1051
01:26:51,520 --> 01:26:57,520
But I really feel like it fits into that like late 90s early to mid 2000s wave of


1052
01:26:57,520 --> 01:27:03,520
heist movies that, yeah, that were just like trying to feel really cool.


1053
01:27:03,520 --> 01:27:05,520
But it's like, you missed the mark.


1054
01:27:05,520 --> 01:27:07,520
Stop saturating the color and making it look like a movie.


1055
01:27:07,520 --> 01:27:11,520
Saturating the color and making everything look like that.


1056
01:27:11,520 --> 01:27:15,520
I have about as much interest in watching Neil Jordan remake Bob LaFlombo as I would


1057
01:27:15,520 --> 01:27:21,520
Quentin Tarantino remakingless samurai with Samuel L. Jackson.


1058
01:27:21,520 --> 01:27:27,520
I mean, I love video idea of Hollywood cannibalizing the French gangster film.


1059
01:27:27,520 --> 01:27:31,520
There is a delicious irony about it.


1060
01:27:31,520 --> 01:27:39,520
The conversation between American crime and French crime cinema had been going along time before


1061
01:27:39,520 --> 01:27:47,520
the war and continued on until the glory days of Melville's final films in the 70s.


1062
01:27:47,520 --> 01:27:53,520
There's still that dialogue between those two separate but similar cultures.


1063
01:27:53,520 --> 01:27:57,520
But then I think the conversations got on too long.


1064
01:27:57,520 --> 01:28:03,520
And I think the good tip represents the nightmare of that conversation as far as I'm concerned,


1065
01:28:03,520 --> 01:28:05,520
not having watched it and never needing to.


1066
01:28:05,520 --> 01:28:07,520
That's a really good point.


1067
01:28:07,520 --> 01:28:12,520
And also that you could even argue that that conversation goes all the way back to Edgar Allan Poe,


1068
01:28:12,520 --> 01:28:18,520
writing his first detective stories, which refer back to French literature and it just


1069
01:28:18,520 --> 01:28:21,520
did sort of like, but it is in the room all.


1070
01:28:21,520 --> 01:28:23,520
Totally inspired by French fiction.


1071
01:28:23,520 --> 01:28:29,520
And so it's like it starts in the 1800s with fiction and maybe it's done now.


1072
01:28:29,520 --> 01:28:35,520
You mentioned to Tina and the thing that people were tripping over themselves about was


1073
01:28:35,520 --> 01:28:37,520
in Resward Dogs, they don't show the robbery.


1074
01:28:37,520 --> 01:28:39,520
Isn't that just amazing? They don't show the robbery.


1075
01:28:39,520 --> 01:28:43,520
And it's like, yeah, we've been talking about this ice film where there's no heiston


1076
01:28:43,520 --> 01:28:45,520
out for the last hour and a half here.


1077
01:28:45,520 --> 01:28:47,520
Yeah, this has happened before folks.


1078
01:28:47,520 --> 01:28:49,520
It's really okay.


1079
01:28:49,520 --> 01:28:51,520
And we are in the good thief.


1080
01:28:51,520 --> 01:28:56,520
We are in a post-terrintino world where we've had Resvard Dog.


1081
01:28:56,520 --> 01:28:58,520
We've had Jackie Brown.


1082
01:28:58,520 --> 01:29:00,520
We've had pulp fiction.


1083
01:29:00,520 --> 01:29:04,520
And so the coolness factor in plus all of the


1084
01:29:04,520 --> 01:29:07,520
Tarrantino clones that went on afterwards.


1085
01:29:07,520 --> 01:29:10,520
So by the time we get to this picture, it's just like,


1086
01:29:10,520 --> 01:29:12,520
"Okay, yeah, I've seen all this stuff before."


1087
01:29:12,520 --> 01:29:15,520
Like you said, Brad, we're watching so many of these other movies.


1088
01:29:15,520 --> 01:29:19,520
There's a tall and of great French gangster films out there that


1089
01:29:19,520 --> 01:29:25,520
are much rather be seeing than watching this remake of Bob La Flambeur.


1090
01:29:25,520 --> 01:29:29,520
And the problem with remake items is that those films


1091
01:29:29,520 --> 01:29:35,520
to a generation not schooled in the older stuff become the standards.


1092
01:29:35,520 --> 01:29:40,520
They replace the films that they'd cannibalized in the first place.


1093
01:29:40,520 --> 01:29:44,520
And so that's the danger of not doing your homework.


1094
01:29:44,520 --> 01:29:49,520
Well, not having an inquisitive and adventures back with looking glance


1095
01:29:49,520 --> 01:29:50,520
into film history.


1096
01:29:50,520 --> 01:29:55,520
You think that these flashy remakes it.


1097
01:29:55,520 --> 01:29:57,520
And that's quite dangerous.


1098
01:29:57,520 --> 01:30:01,520
It's also sad to think that somebody would maybe watch the good thief


1099
01:30:01,520 --> 01:30:03,520
and think, "Okay, this is fun."


1100
01:30:03,520 --> 01:30:06,520
And then never even know the bubbles flumber exist.


1101
01:30:06,520 --> 01:30:11,520
Yeah, and you get to the good thief and you hear even Leonard Cohen


1102
01:30:11,520 --> 01:30:14,520
and the soundtrack and you're just like, "Oh, Leonard Cohen on the soundtrack,


1103
01:30:14,520 --> 01:30:16,520
just like, "Natureborn killers."


1104
01:30:16,520 --> 01:30:20,520
And it's like, "Yeah, trust me, Leonard Cohen is done stuff before natural work,


1105
01:30:20,520 --> 01:30:21,520
"illars."


1106
01:30:21,520 --> 01:30:23,520
He was around for a few years.


1107
01:30:23,520 --> 01:30:26,520
To hear that new singer, Leonard Cohen, yeah.


1108
01:30:26,520 --> 01:30:30,520
He even did a cover of that concrete blonde song.


1109
01:30:30,520 --> 01:30:33,520
And even the end of the movie, the end of the good thief,


1110
01:30:33,520 --> 01:30:40,520
is Bano doing a cover of that life, which was obviously made famous by


1111
01:30:40,520 --> 01:30:45,520
Frank Sinatra, and you're just like, "Oh, why'd we rather be watching Ocean to Lebanon?"


1112
01:30:45,520 --> 01:30:46,520
Okay.


1113
01:30:46,520 --> 01:30:51,520
I would much rather be living in a universe where instead of you two getting famous,


1114
01:30:51,520 --> 01:30:58,520
Gamma Friday's band, The Virgin Prunes became world-renowned,


1115
01:30:58,520 --> 01:31:01,520
like you two are a blight on humanity.


1116
01:31:01,520 --> 01:31:05,520
I haven't even told you at one point Andrew,


1117
01:31:05,520 --> 01:31:08,520
there's a twin gag, the Polish twins show up.


1118
01:31:08,520 --> 01:31:12,520
And I don't know if that really ever plays out in the movie,


1119
01:31:12,520 --> 01:31:16,520
like allegedly there's this whole other plot that's going on.


1120
01:31:16,520 --> 01:31:19,520
And I don't know if I just didn't just being a tensioner,


1121
01:31:19,520 --> 01:31:23,520
just didn't care because I'm just like, "Okay, now there's twins


1122
01:31:23,520 --> 01:31:26,520
"volved in somehow they're going to help Rob the casino


1123
01:31:26,520 --> 01:31:29,520
while Bob is actually winning."


1124
01:31:29,520 --> 01:31:30,520
Yeah.


1125
01:31:30,520 --> 01:31:32,520
Who gives a shit?


1126
01:31:32,520 --> 01:31:39,520
Edna das also a quite annoying problem of those 2000s crime movies is


1127
01:31:39,520 --> 01:31:46,520
they include a lot of these flashy elements like the sort of twins gag


1128
01:31:46,520 --> 01:31:50,520
that it's not crucial to the story and we never return to it.


1129
01:31:50,520 --> 01:31:54,520
It's just like, "Oh, here's this cool thing to keep your attention for two minutes."


1130
01:31:54,520 --> 01:31:57,520
So annoying, such bad storytelling.


1131
01:31:57,520 --> 01:32:02,520
It's like in the 2000s, you know, you'd had 10 years of the sons of parenting.


1132
01:32:02,520 --> 01:32:07,520
And everyone was kind of getting a little used to that level.


1133
01:32:07,520 --> 01:32:11,520
And so you had to jack the level of excitement up in the films.


1134
01:32:11,520 --> 01:32:15,520
And everything became like watching video games on, you know,


1135
01:32:15,520 --> 01:32:19,520
meth, just big band hyper hyper.


1136
01:32:19,520 --> 01:32:20,520
You know what I mean?


1137
01:32:20,520 --> 01:32:22,520
Like beyond hyper.


1138
01:32:22,520 --> 01:32:26,520
Yeah, and I can't even imagine what going to the movies going to the cinema


1139
01:32:26,520 --> 01:32:29,520
to watch those pieces of shit would be like because, you know,


1140
01:32:29,520 --> 01:32:34,520
unless you're on Riddlein, not of it, would even be stomachable.


1141
01:32:34,520 --> 01:32:38,520
Yeah, I'm trying to remember when smoke and aces came out because I think that was kind of


1142
01:32:38,520 --> 01:32:41,520
the ultimate of that word, yeah, to your point.


1143
01:32:41,520 --> 01:32:44,520
And I'm on something that was a hyper hyper.


1144
01:32:44,520 --> 01:32:46,520
That's the one I was thinking of.


1145
01:32:46,520 --> 01:32:48,520
That's exactly it.


1146
01:32:48,520 --> 01:32:52,520
There's also that that one, what is it called?


1147
01:32:52,520 --> 01:32:53,520
Lucky number 11.


1148
01:32:53,520 --> 01:32:56,520
Oh God, I saw that meth theater.


1149
01:32:56,520 --> 01:32:57,520
Jesus Christ.


1150
01:32:57,520 --> 01:33:02,520
Oh, alright guys, let's go ahead and take another break and play preview for next week's show.


1151
01:33:02,520 --> 01:33:31,520
[Music]


1152
01:33:31,520 --> 01:33:33,520
This is the famous movie.


1153
01:33:33,520 --> 01:33:46,520
[Music]


1154
01:33:46,520 --> 01:33:48,520
Hello, it's me!


1155
01:33:48,520 --> 01:33:56,520
[Music]


1156
01:33:56,520 --> 01:34:01,520
I'll be right. I'll be right. I'll be right.


1157
01:34:01,520 --> 01:34:03,520
If you can, I'll be right.


1158
01:34:03,520 --> 01:34:12,520
[Music]


1159
01:34:12,520 --> 01:34:14,520
I'll be right.


1160
01:34:14,520 --> 01:34:16,520
It's not.


1161
01:34:16,520 --> 01:34:18,520
Or you don't know the name of the movie.


1162
01:34:18,520 --> 01:34:20,520
Oh, I'm in the movie!


1163
01:34:20,520 --> 01:34:22,520
It's the movie! It's the movie!


1164
01:34:22,520 --> 01:34:29,520
[Music]


1165
01:34:29,520 --> 01:34:46,520
[Music]


1166
01:34:46,520 --> 01:34:49,520
As right, we'll be back next week with an episode on Marseille Carnes,


1167
01:34:49,520 --> 01:34:54,520
the children of Paradise until then I want to thank my co-host Sam and Andrew.


1168
01:34:54,520 --> 01:34:57,520
So Andrew, what's been keeping you busy lately, sir?


1169
01:34:57,520 --> 01:35:01,520
During my new punk rock music documentary, Pub the movie,


1170
01:35:01,520 --> 01:35:09,520
that kicks off its Australian theatrical season about three days.


1171
01:35:09,520 --> 01:35:14,520
So that's going to be a whirlwind, you know, five to six weeks,


1172
01:35:14,520 --> 01:35:21,520
running around Australia, showing the story of this crazed Melbourne punk rocker


1173
01:35:21,520 --> 01:35:28,520
and cartoonist who captured his life in cartoon form for about 35 years,


1174
01:35:28,520 --> 01:35:32,520
in a weekly Pub strip, weekly cartoon strip called Pub.


1175
01:35:32,520 --> 01:35:40,520
So it's a fascinating story about a man, his pencil, and the crazed punk rock


1176
01:35:40,520 --> 01:35:44,520
music universe that swelter around him for 40 years.


1177
01:35:44,520 --> 01:35:49,520
And then I've just started on my new documentary series called Film Safari.


1178
01:35:49,520 --> 01:35:55,520
I started shooting an episode in King's Cross, you know, the red light district of Sydney,


1179
01:35:55,520 --> 01:36:00,520
where these two amazing women who are now in their 70s and 80s used to make one films


1180
01:36:00,520 --> 01:36:02,520
in King's Cross in the early 70s.


1181
01:36:02,520 --> 01:36:08,520
That's the great untold story of Australian cinema right there


1182
01:36:08,520 --> 01:36:13,520
in the midst of the Pigal Obstitney, King's Cross.


1183
01:36:13,520 --> 01:36:17,520
And then of course one of the episodes is Film Safari, El Maria,


1184
01:36:17,520 --> 01:36:20,520
where Sam and I run around spaghetti Western towns going,


1185
01:36:20,520 --> 01:36:24,520
"Oh, thank God, this is where they show full of the general."


1186
01:36:24,520 --> 01:36:28,520
We're all just be squeezing my life-sized John Maria Pillow,


1187
01:36:28,520 --> 01:36:30,520
which I'm reavel one tape pillow crying.


1188
01:36:30,520 --> 01:36:35,520
You can see the Alice coxes Lapelle, because Alex said he's being...


1189
01:36:35,520 --> 01:36:38,520
Yes. Yeah. Thank you, Mike. For the hook up.


1190
01:36:38,520 --> 01:36:41,520
Oh, yeah. You got it. I'm glad I played part of this,


1191
01:36:41,520 --> 01:36:43,520
so that's all I could ask.


1192
01:36:43,520 --> 01:36:48,520
Well, when you do your episode on Detroit and we start talking about Clarence and Alabama,


1193
01:36:48,520 --> 01:36:49,520
you can shoot me right in the head.


1194
01:36:49,520 --> 01:36:53,520
If you haven't already been shot by a stray bull, because Detroit, oh my God.


1195
01:36:53,520 --> 01:36:55,520
And Sam, what's the latest with you, please?


1196
01:36:55,520 --> 01:37:01,520
Well, I should mention my podcast, which is "The Deathner of As of Now"


1197
01:37:01,520 --> 01:37:06,520
and I'm sure you'll see it.


1198
01:37:06,520 --> 01:37:10,520
Well, our most recent episode was "A Valentine's Day" one on Necrofelia movies.


1199
01:37:10,520 --> 01:37:16,520
And then I've had so many things come out recently in terms of commentaries,


1200
01:37:16,520 --> 01:37:19,520
but things sort of related to Bob LaFlumber.


1201
01:37:19,520 --> 01:37:24,520
I did a commentary for the keynote release of this "All in Very Strange"


1202
01:37:24,520 --> 01:37:30,520
Alan Ladd, movie called "Lucky Jordan" about this gangster trying to dodge the draft


1203
01:37:30,520 --> 01:37:37,520
to line up uncovering a Nazi plot, because you can't have a Hollywood movie from the 40s


1204
01:37:37,520 --> 01:37:39,520
without someone being a good American.


1205
01:37:39,520 --> 01:37:46,520
And I also contributed a commentary to this noir adjacent movie called "Rope of Sand",


1206
01:37:46,520 --> 01:37:54,520
which has a very sweaty Bert Lancaster in existential angst in the desert.


1207
01:37:54,520 --> 01:37:56,520
Thank you so much folks for being on the show.


1208
01:37:56,520 --> 01:37:58,520
Thanks to everybody for listening.


1209
01:37:58,520 --> 01:38:01,520
If you want to hear more of me shooting off my mouse, check out some of the other shows I work on.


1210
01:38:01,520 --> 01:38:04,520
They are all available at WeedingLameEDia.com.


1211
01:38:04,520 --> 01:38:10,520
Thanks especially to our Patreon community, if you want to join the community, visit patreon.com/projectshabuth.


1212
01:38:10,520 --> 01:38:14,520
Every donation we get helps the projection booth take over the world.


1213
01:38:14,520 --> 01:38:24,520
[Music]


1214
01:38:24,520 --> 01:38:45,520
[Music]


1215
01:38:45,520 --> 01:38:55,520
[Music]


1216
01:38:55,520 --> 01:39:05,520
[Music]


1217
01:39:05,520 --> 01:39:15,520
[Music]


1218
01:39:15,520 --> 01:39:44,520
[Music]


1219
01:39:44,520 --> 01:40:12,520
[Music]


1220
01:40:12,520 --> 01:40:37,520
[Music]


1221
01:40:37,520 --> 01:40:47,520
[Music]