For all you proper film enthusiasts who would like to peruse the films of TruStory FM’s entertainment podcasts by release year. Get ready for a firehose of film history in these here stacks.
We wrap up our series on the nominees at the 1952 Academy Awards for Best Black-and-White Cinematography with a conversation about Elia Kazan’s adaptation of Tennessee Williams’ play “A Streetcar Named Desire.” It’s a strong finish for this series and gives us a lot to talk about. Tune in!
We continue our 1952 Academy Awards Best Cinematography • Black-and-White Nominees series with a conversation about Alfred Hitchcock’s fantastic “Strangers on a Train.” The cinematography is top notch. The story’s perfectly Hitchcock. It’s a great film to chat about!
We continue our 1952 Academy Awards • Best Cinematography, Black-and-White nominees series with a conversation about the winner that year – George Stevens’ dark melodrama “A Place in the Sun”. Neither of us had seen it and we both were completely surprised by how much we loved it. Check it out then tune in!
We continue our series looking at the 1952 Academy Award nominees for Best Cinematography, Black-and-White. Today, we talk about a film that gave the Navy’s Underwater Demolitions Team – subsequently the SEALs – a big boost in applicants. It’s Lloyd Bacon’s 1951 film “The Frogmen” starring Richard Widmark and Dana Andrews. Plus, it’s one of the first major Hollywood films to incorporate underwater cinematography to this extent! Tune in.
We kick off our next series, jumping to the 1952 Academy Award nominees for Best Cinematography • Black-and-White. First up, we talk about László Benedek’s 1951 adaptation of Arthur Miller’s “Death of a Salesman.” For a play that’s been adapted so many times, how does this – the first film adaptation – hold up? Tune in!
Released in 1951, Ace in the Hole came out a time when neither the public nor the critics were ready for something like it and it flopped. Hard. But with time, it’s found a new audience and has been canonized as one of Billy Wilder’s greatest achievements. Join us — Pete Wright and Andy Nelson — as we continue our Film Noir series with “Ace in the Hole.”
Ealing Studios comedies, particularly the ones we’ve been talking about, have all had a bit of an anti-establishment feel to them but “The Man in the White Suit” feels like they were trying to something a bit more with it. The film is fascinating satirical comedy looking at the relationship between the factory owners and the union laborers in England back in the 50s that doesn’t just focus on their differences but also finds a way to bring the two groups together. The reason for their coming together is, of course, the titular character, played wonderfully by Sir Alec Guinness. Join us — Pete Wright and Andy Nelson — as we talk about this great Alexander Mackendrick film from 1951 as the next in our Guinness series.
Sir Alec Guinness had already proven both his comedic and dramatic prowess by the time he came to Ealing Studios’ “The Lavender Hill Mob” in 1951, a point in his career when he was making two films a year. He’d continue working in both comedy and drama throughout his career, but we’re lucky to still be talking about his comedies because “The Lavender Hill Mob” is an absolute delight. Join us — Pete Wright and Andy Nelson — as we continue our Sir Alec Guinness series with a conversation about his seventh film, directed by Charles Crichton.
John Huston co-wrote and directed it, choosing to shoot as much as he possibly could in Africa. While many said it couldn’t be done—shooting a story on location about two characters typically considered much too old for a love story—John Huston proved them wrong.