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Storia del cinema

Storia del cinema

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08/08/2024
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Cinema: recensioni

Cinema: recensioni

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27 mag

Episode 801: Reconstituirea (1968)

In 1968, Romanian filmmaker Lucian Pintilie completed his second film, Reconstituirea — known in English as Reconstruction or The Reenactment — and, within a month of its 1970 release, it vanished. Not banned outright, but buried: withdrawn, never televised, never revived for nearly two decades. By the time Romanian audiences could see it freely in 1990, it had acquired near-mythological status. A 2008 critics' poll ranked it the greatest Romanian film ever made. The premise is deceptively simple: two young men, Vuică and Ripu, get drunk at their graduation party, brawl with a bartender, and are offered a deal — reenact the fight for an educational film about the dangers of alcohol and walk free. What follows is a sustained, darkly comic, and finally devastating examination of what happens when institutional power turns a camera on the people it controls. Mike talks with Spencer Parsons and Andrei Idu about Pintilie's deliberate subversion and why this film became the foundation for the entire Romanian New Wave. Guest interview Radu Toderici -- whose essay about the film will be featured as part of the upcoming book ReFocus: The Films of Lucian Pintilie. Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth--5513239/support. Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth

27 mag

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2 h 8 min
15 giu

Episode 803: Timerider - The Adventure of Lyle Swann (1982)

Mike and Aaron Carruthers kick off Sci-Fi June with William Dear's time-travel oddity Timerider: The Adventure of Lyle Swann, in which motocross racer Lyle Swann (Fred Ward) accidentally blasts a century into the past and spends the entire film completely unaware that he's done it. That central gag — a fish out of water who doesn't know he's a fish — drives most of the conversation, along with the film's quietly clever paradox, its improbably stacked character cast, and the eclectic score produced by former Monkee Mike Nesmith. Mike and Aaron dig into what makes Fred Ward's performance work, why Belinda Bauer's Claire registers as the true power center of her frontier town, and how Peter Coyote earns his villain credentials in a single scene. They also talk through Dear's resourceful low-budget filmmaking — shooting in desert locations, strapping cameras to bikes, hiring a second unit team for five grand — and the director's personal connections to early Sam Raimi and the Michigan indie scene, including The Northville Cemetery Massacre. Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth--5513239/support. Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth

15 giu

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1h 36m
23 feb · Contenuti extra

Special Report: Brian Raftery on Hannibal Lector - A Life

Mike talks with writer and podcaster Brian Raftery about his latest book, Hannibal Lector: A Life. It's a look at Thomas Harris and his most famous creation, the genteel boogeyman Hannibal Lector in his various book, film, and TV incarnations from Red Dragon to Bryan Fuller's captivating series. Buy the book now at https://amzn.to/4qMuNzB Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth--5513239/support. Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth

23 feb · Contenuti extra

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44 min
8 apr

Episode 795: Some Like it Hot (1959)

Comedy Month continues as Mike talks with co-hosts Keith Gordon and Heidi Honeycutt about Billy Wilder's Some Like It Hot (1959). Chicago, 1929. Musicians Joe (Tony Curtis) and Jerry (Jack Lemmon) are barely scraping by when they stumble onto the St. Valentine's Day Massacre, witnessing Spats Colombo and his mob gun down a rival gang. With the killers on their tail, the two desperate musicians disguise themselves as women and join Sweet Sue's Society Syncopators, an all-girl band heading to Miami. Aboard the train they meet Sugar Kane Kowalczyk (Marilyn Monroe), a ukulele-playing singer with a weakness for saxophonists and a dream of marrying a millionaire. Mike also talks with scholar Noah Isenberg — author of the Los Angeles Times bestseller We'll Always Have Casablanca and currently completing a cultural history of Some Like It Hot for Norton — about the film's origins, its enduring legacy, and what it still has to say. Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth--5513239/support. Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth

8 apr

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2 h 21 min
17 giu

Episode 804: Dark City (1998)

Rob St. Mary and Rob Spencer join Mike to dig into Proyas's tale of John Murdoch (Rufus Sewell), who wakes in a cheap hotel room with no memory, a dead body nearby, and a city that refuses to add up. Detective Bumstead (William Hurt) closes in while the pale, bald Strangers rearrange reality every time the clocks stop — building a world that is simultaneously a locked-room mystery, a Philip K. Dick nightmare, a Kafka story with a superhero ending, and a filmmaker's self-portrait: the Strangers as producers, Dr. Schreber (Kiefer Sutherland) as the compromised writer, and Murdoch as the protagonist who tears through the painted backdrop and seizes the apparatus. The conversation covers the film's screenplay stages and two finished cuts, the studio-mandated voice-over that Proyas spent a decade trying to undo, and Roger Ebert's role as the mechanism of the film's survival. Mike and the Robs also place Dark City within the remarkable 1998–99 cluster of simulated-world films — The Truman Show, The Matrix, eXistenZ, The Thirteenth Floor — and examine what it means that Murdoch's triumphant ending leaves the city still a construct, still running on hidden machinery, with only the god changed. Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth--5513239/support. Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth

17 giu

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1h 46m
29 apr

Episode 798: Freddy Got Fingered (2001)

Comedy Month wraps up as Mike talks with Rob St. Mary and Heather Drain about Tom Green's Freddy Got Fingered (2001) and Producer Lauren Lloyd joins Mike for an interview about working on the film that was almost universally trashed on release. Green wrote, directed, and stars as Gord Brody, an aspiring cartoonist who heads to Hollywood to sell his drawings as an animated series. After a catastrophic pitch meeting, Gord retreats to live with his parents—long-suffering father Jim (Rip Torn), mother Julie (Julie Hagerty), and younger brother Freddy (Eddie Kaye Thomas). Also along for the ride: Marisa Coughlan as Betty, a wheelchair-using rocket scientist. Closer in spirit to Dadaist provocation than anything else at the multiplex in 2001. Mike, Rob, and Heather dig into Green's career, the film's reception, deleted material from the trailer and behind-the-scenes footage, and the question of what Freddy Got Fingered is actually trying to do. Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth--5513239/support. Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth

29 apr

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2 h 14 min
3 giu

Episode 802: Dark of the Sun (1968)

Mike welcomes Andrew Nette and Jedidiah Ayres back to dissect Dark of the Sun (1968), a brutal, kinetic men‑on‑a‑mission film whose pulp thrills sit atop a surprisingly rich political and historical foundation. The trio digs into the movie’s Cold War backdrop, its depiction of the Congo Crisis, and the real mercenaries who inspired characters like Curry and the sadistic Henlein — from “Mad” Mike Hoare to Siegfried “Congo” Müller, whose Iron Cross‑wearing exploits echo through the film. They explore Jack Cardiff’s muscular direction, the film’s obsession with logistics, its uneasy colonial gaze, and how Rod Taylor and Jim Brown anchor a story that veers from heist film to war movie to moral reckoning. Chainsaws, trains, diamonds, and geopolitics collide in one of the wildest action films of the 1960s. Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth--5513239/support. Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth

3 giu

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1h 32m
14 mag

Episode 800: Chimes at Midnight (1965)

Orson Welles spent thirty-five years trying to put Sir John Falstaff on screen. Chimes at Midnight (1966) is the result: a film drawn from five Shakespeare plays — primarily the two Henry IV parts, with passages from Richard II, Henry V, and The Merry Wives of Windsor — that lifts Falstaff from comic supporting player to tragic protagonist. Welles plays the knight himself, a lumbering, larger-than-life tavern dweller and unlikely father figure to Prince Hal (Keith Baxter), heir to the guilt-haunted Henry IV (John Gielgud). When Hal must choose between loyalty to Falstaff and the demands of the crown, the film becomes what Welles called a lament "for the death of Merrie England." Dismissed by critics on its 1966 Cannes premiere and barely distributed in the United States, the film spent decades trapped in rights disputes — finally reaching audiences properly through the Janus Films/Criterion restoration in 2016. Mike talks with Spencer Parsons and David MacGregor about the film's three-decade gestation across stage and screen, the filmmaking ingenuity behind its legendary Battle of Shrewsbury sequence, the autobiographical dimensions of Welles's performance, and why Chimes at Midnight now stands for many critics as the greatest Shakespeare film ever made. Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth--5513239/support. Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth

14 mag

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1h 59m
13/05/2020

Episode 467: Last Year at Marienbad (1961)

French Month continues with a look at Alain Renais's Last Year at Marienbad (1961). Based on a script by Alain Robbe-Grillet, the film tells the tale of three characters, M, A, and X, as they wander the halls and grounds of a vast hotel in Marienbad. What are their relationships? What are they doing in Marienbad? How does this film take apart everything that we think we know about narrative storytelling? We'll try to figure some of that out as we go along. Jim Vendiola and Samm Deighan join Mike to discuss this challenging film. Learn more about your ad choices. Visit megaphone.fm/adchoices Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth--5513239/support. Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth

13/05/2020

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1h 45m
12 mag

Episode 799: The Toxic Avenger (2023)

In 2025, New Jersey's favorite hideously deformed creature of superhuman size and strength returned — twice. Writer/director Macon Blair's big-budget reimagining, The Toxic Avenger (2023), finally received a wide theatrical release in August 2025. Peter Dinklage voices Winston, a terminally ill janitor at a corrupt pharmaceutical company who falls into a vat of toxic chemicals and emerges as Toxie — a mop-wielding mutant vigilante. Kevin Bacon stars as the company's scheming CEO and Elijah Wood as his security-minded brother, in a film that wraps its splatter comedy around themes of healthcare, corporate greed, and unlikely heroism. Also in 2025, Troma's own Andrew L. Miller and Adam Peltier reconstructed The Toxic Avenger Part II (1989) and Part III (1989) into the single film they were always meant to be. Titled Mr. Melvin, the 127-minute cut restores the narrative logic Lloyd Kaufman and Michael Herz originally intended — following Toxie's post-heroic depression, a manipulated journey to Japan, and a Faustian deal with Apocalypse Inc. that turns him into a corporate sellout before the ultimate confrontation with the Devil himself. Mike talks with Rob St. Mary about both films, and the episode includes interviews with Troma co-founder Lloyd Kaufman and Mr. Melvin co-producer and co-editor Andrew L. Miller. Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth--5513239/support. Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth

12 mag

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3 h 3 min

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