Film Trace

Film Trace
  • 4.2 (11)
  • FILM HISTORY
  • UPDATED BIWEEKLY
Film Trace

We trace the Life of a Film from conception to production all the way to its release and reception. You know when you dive into a film's wikipedia and imdb after watching it? Then the director's page, then the actor's page. Our show does that for you. We use our nerd superpowers to obsessively tell the story of a movie: how it came to be, how it played out, and what it means today. It is a crash course on a single film filled with primary documents, lovely asides, and frequent guest voices. It is an investigation and celebration of films both great and small.

  1. The Fly (1986\1958)

    MAR 2

    The Fly (1986\1958)

    In episode five of our Visionary Remakes season, we dissect the original The Fly from 1958 as well as David Cronenberg's bombastic remake from 1986. Special Guest: Daniel Malone - Host of the great You Talkin' to Me? podcast where Daniel watches classic films with his son for the first time. Check it out! The impetus of this season was to explore how remakes can add, take away, or supercede the original. Of course, all remakes add to the discourse of the original, and it is not some arbitrary competition. But the intention to remake is in some sense always competitive. A producer, writer, and/or director wants to retell a story in a different way, presuming the original will no longer do. Often this desire is imprudent but The Fly is a great example of how that impulse can lead to something much deeper and richer than the original execution. The Fly (1958) is certainly not a bad film. It was an elevated B-movie for its time, shot in beautiful CinemaScope. Vincent Price dutifully shows up, and a couple scenes became iconic (both fly head reveals). When compared to David Cronenberg's masterpiece from 1986, the original suddenly feels quite quaint and slight, a time capsule curiosity rather than groundbreaking film. Cronenberg's The Fly is perhaps the paradigm of taking an interesting idea and expanding it into something much more and much better. The remake also demonstrates that an idea or concept is just the foundation of a film. The true totality of a movie is the collective creative action of hundreds of people. When it all gels, we get something special and magical.

    1h 10m
  2. Cape Fear (1991\1962)

    FEB 16

    Cape Fear (1991\1962)

    In episode four of our Visionary Remakes season, we cross-examine two versions of Cape Fear, the original starring a creepy and enigmatic Robert Mitchum, and the 1991 remake from Martin Scorsese starring a crazed and manic Robert De Niro. Special Guest: Amanda Jane Stern - writer, producer and star of the award-winning psychosexual thriller Perfectly Good Moment. Streaming now on Tubi! Co-host of the podcast Don't Be Crazy. Both versions of Cape Fear are anchored by dazzling performances of the antagonist, Max Cady. Robert Mitchum reduces the overtly violent nature of Cady in order to play up his cleverness, obsessiveness , and wiliness. De Niro goes over the top in his version of Cady, playing him as zany, an almost comical but brutal cartoon villain. This difference underlines the drastically opposed tones, vibes, and outcomes of each version of Cape Fear. The 1962 original focused on the limits of justice. It clearly asks and attempts to answer where the line between enforced law and moral justice lives, albeit wrapped in a juicy and sensational B-movie plot. Scorsese's 1991 remake does not ask those questions, but it does drench us in pulpy genre stimuli: graphic violence, improprietous sexuality, and domestic disputes. The debate we have in this episode is whether either film is successful in its intended mission. Is the original too flat for a genre flick and perhaps too lofty to escape pretension? Do Marty and De Niro swing away and strike out, can a trashy thriller be too much even if it attempts to do nothing more than shock?

    1h 8m
  3. Dawn of the Dead (2004\1978)

    FEB 9

    Dawn of the Dead (2004\1978)

    In episode three of our Visionary Remakes season, we bite into Dawn of the Dead, the original by George Romero from 1978 and the kinetic remake by Zack Snyder from 2004. Special Guest: Karl Delossantos, founder and film critic at Smash Cut, editor at The New York Times, a Rotten Tomatoes-approved critic, and member of the Online Film Critics Society. George Romero's Dawn of the Dead (1978) was my favorite film through my 20s and 30s (Dan here). The horror film's intoxicating mixture of gonzo production, revolting gore, pitch black satire, and anti-consumerist musings were a perfect match for my young adult mind. My adoration hasn't faded at all since I first saw it in high school, some 25 years ago. Dawn of the Dead is often considered Romero's masterpiece and perhaps the greatest zombie film ever made. The remake of Dawn of the Dead landed like an atom bomb in 2004. Running zombies! Zach Snyder's first, and inarguably his best, film helped launch a zombie cultural moment that peaked 10 years later when 22 million people watched the season five opener of The Walking Dead, a tv show heavily indebted to George Romero's dead universe. Zombies had become mass appeal. "What would you do in an zombie apocalypse" became a lamestream icebreaker question. While Snyder's Dawn was a catalyst for this popularity, it was really the ideas in Romero's Dead films that attracted people to this once very niche subgenre of horror.

    1h 5m
  4. True Grit (2010\1969)

    FEB 2

    True Grit (2010\1969)

    In episode two of our Visionary Remakes season, we survey the recent Coen brothers remake of True Grit (2010) and compare it to the original film, a John Wayne vehicle from 1969. Special Guest: Brian Eggert is the owner and film critic of Deep Focus Review, where he has written movie reviews, in-depth essays, and critical analyses since 2007. Brian also regularly appears on KARE 11, the NBC affiliate for the Twin Cities, to review and discuss movies. He belongs to the Society For Cinema and Media Studies, Minnesota Film Critics Alliance, Online Film & Television Association, International Film Society Critics, Independent Film Critics of America, The Critics Circle, and National Coalition of Independent Scholars. Westerns have gone through many cycles since the beginning of filmmaking. Right now, we are seeing an uptick in interest as the tv show Yellowstone dominates the traditional tv market. But back in 2010, Westerns were definitely far off in the background as comic book movies had begun to take over the box office. In 2010, the Coen brothers were coming off a very successful adaption of No Country for Old Men (2007) as well as two more left of center films, the sprightly spy romp Burn After Reading from 2008 and the niche existentialist A Serious Man from 2009. It is unclear why they decided to remake True Grit and focus on the novel from 1968 instead of the John Wayne movie which came a year later in 1969, but the choice was very successful. True Grit (2010) became the 2nd biggest Western in the modern box office. The 2010 True Grit showcases the refined talents of the Coens alongside the gorgeous cinematography of Roger Deakins, the layered and rich music from Carter Burwell, and a smashing breakout debut performance from Hailee Steinfeld as the lead Mattie Ross. The 1969 version of True Grit offers so much less. Despite John Wayne winning an Oscar for his portrayal of Rooster Cogburn, the original film seems totally out of step and out of time. In hindsight, it was an end-of-the-line production for the core creatives involved. The director, writer, and star actor were all at the end of their careers. Indeed this very type of Western was on its last leg as evidenced by the giant leap the genre made at the same time this film was being produced and released. Watch any of the bigger westerns from the late 1960s and then try to sit through True Grit (1969). The dislocation and disorientation is severe. The original True Grit was a swan song that came about a decade too late.

    1h 1m
  5. Nosferatu (2024\1922)

    JAN 27

    Nosferatu (2024\1922)

    A new season of Film Trace is here! This season we will try something a bit different. We are focusing on Visionary Remakes. In each episode, we will watch a remake made in the selected decade and then go back and compare it to the original film. First up, we are covering Nosferatu. This season was inspired by Robert Eggers' remake which came out late last year. The film was a surprise hit at the box office and is currently doing very well on digital release. We will compare the modern Nosferatu with the famous original, Nosferatu: A Symphony of Horror from 1922. We will also toss in a little of Werner Herzog's remake from 1979. Nosferatu is perhaps the most famous horror character in the history of film. The character was a blatant and conspicuous copy of Dracula, so much so that the original film was ordered destroyed due to copyright violations. We only have it now, because it had been exported from Germany. Eggers brings forward the titular character into the world of Imax Laser and Dolby Atmos. He adds layer upon layer of intricate production and sound design, but the overall feeling is a bit mushy and lukewarm. Eggers decided to shift the main focus from the male protagonist to a female supporting character in the original story. A bizarrely postmodern move from a resolutely modernist director. Nosferatu is perhaps the perfect film to kick off the new season. Why remake a film? What you are bringing to it, what are we losing?

    1h 3m
  6. A House Divided: 2024 Films We Love, Films We Hate

    12/10/2024

    A House Divided: 2024 Films We Love, Films We Hate

    A House Divided: 2024 Films We Love, Films We Hate In this special episode, Dan and Chris delve into the films that split them down the middle—where one of us loved a movie, and the other couldn't stand it. It's our version of cinematic crossfire, complete with slightly heated debates and a dash of common ground by the end. Episode Highlights: --Intro: House Divided Origins-- Trap & Longlegs --The Divide-- I Saw the TV GlowA Quiet Place: Day OneHit ManMaxxxineLove Lies BleedingThe SubstanceCivil WarRebel Ridge --Dan vs. Chris: To Watch Lists-- For Chris:Dan Hates: Strange DarlingDan Loves: Beetlejuice Beetlejuice, Speak No EvilFor Dan:Chris Loves: Conclave, Furiosa, PavementsChris Likes: A Real Pain, The Wild Robot, Kinds of Kindness, Will & Harper, Dear SantaChris OKs: Anora, Heretic, Cuckoo, My Old Ass, Transformers One, Woman of the HourChris Hates: Nutcrackers, Moana 2 --Conclusion: Where We Agree-- Both Hated IT: Twisters, Deadpool & Wolverine, Alien: Romulus, Abigail, Blink TwiceBoth Love: ChallengersBoth Like Sort Of: The Fall Guy

    1h 21m
  7. While the City Sleeps (1956) and M (1931)

    10/27/2024

    While the City Sleeps (1956) and M (1931)

    In the season finale of our Manhunt series, we trace the trajectory of Fritz Lang's exceptional beginnings with M (1931) to his wilting end in While the City Sleeps (1956). Fritz Lang had already created two masterpieces, Metropolis (1927) and M (1931), by the time he reached middle age. He went on to direct twenty-three more films throughout his long career. While some of these subsequent films were great, it would be difficult to argue that any of them reached the heights of his early work. There is a clear reason for this. Lang, a vehement anti-Nazi, was forced into exile when the NSDAP took over Germany in the 1930s. Lang found work in the Hollywood system, which he persistently despised. This acrimonious relationship eventually soured beyond repair, and While the City Sleeps is a cynical swan song to the business side of filmmaking that Lang loathed. M and While the City Sleeps serve as excellent bookends to Lang's career, as well as to our season of Manhunt. While M delves deeply into the underbelly of Berlin and the moral abyss of the protagonist, While the City Sleeps gingerly skips along a similarly dark story with overly light interiors and day drunk actors. Lang transformed from an experimental and deeply probing artist into one who seemed more interested in cashing-in checks endorsed by the era's big movie stars. M represents a high point in the true crime, thriller, and manhunt genres. While the City Sleeps, on the other hand, exemplifies the erosion of originality we often see in this popular genre. The farther the story gets from the minds of the hunter and hunted, the less thrilling it all becomes.

    1h 9m
  8. Bullitt (1968) and Le Samouraï (1967)

    10/14/2024

    Bullitt (1968) and Le Samouraï (1967)

    In episode seven of our Manhunt series, we traverse a gritty and rebellious San Francisco in Bullitt (1968) alongside an oddly sleek and barren Paris in Le Samouraï (1967). Bullitt is famous for two reasons: Steve McQueen and the car chase. Like most famous films, its celluloid holds many more layers than its reputation claims. Bullitt was a leap forward for crime thrillers. Its naturalism, meticulousness, and postmodern plot made it a harbinger for the decades to come. There is no Chinatown without Bullit nor Heat. That alone makes it a remarkable and important film. The car chase is maybe the best ever put on screen, so that doesn’t hurt it. On the other side of the Atlantic, Jean-Pierre Melville’s Le Samouraï takes us into the calculated, Zen-like existence of a contract killer, played with masterful restraint by Alain Delon. Unlike the exposed id of Bullitt, Le Samouraï draws its power from a detached coolness, which deepens as the films reaches its crescendo. The film's manhunt is quietly relentless. The glitz and glamor of Paris and a life of crime are ruthlessly stripped away scene after scene until the isolated hero makes a final existential leap.

    1h 2m
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4.2
out of 5
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About

We trace the Life of a Film from conception to production all the way to its release and reception. You know when you dive into a film's wikipedia and imdb after watching it? Then the director's page, then the actor's page. Our show does that for you. We use our nerd superpowers to obsessively tell the story of a movie: how it came to be, how it played out, and what it means today. It is a crash course on a single film filled with primary documents, lovely asides, and frequent guest voices. It is an investigation and celebration of films both great and small.

Information

  • Creator
    Film Trace
  • Years Active
    2020 - 2025
  • Episodes
    118
  • Rating
    Clean
  • Copyright
    © Film Trace
  • Show Website
    Film Trace

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