1979 - A Cinematic History Podcast

Simon Carabetta

1979 isn't just a film podcast. It isn't just a history podcast. It's a show that describes the films of from one of cinema's most turbulent years and brings you the political, cultural, and societal context. This show captures the very essence of this year in film and explains through deep analysis, historical insight, and political movements, just why the films of 1979 are so unique. It's about a turning point in cinematic history, with 1979 bringing about the end of the New Hollywood era, and heralding the Blockbuster era of the 1980's and 90's. It's that year of cinematic limbo, where films were more about reflecting the politics and culture of the time, no matter where in the world they were produced.

Episodes

  1. Sep 20

    Episode 2: Apocalypse Now

    We open in 1899. Joseph Conrad. A river in the Belgian Congo. A story about what happens to men when the rules run out, and nobody is watching. Eighty years later, Francis Ford Coppola read that novella and said: this is the Vietnam War. This episode is about Apocalypse Now; the film, the production, and the man who nearly destroyed himself making it. We talk about what Vietnam actually was, and why it took Hollywood four years after the fall of Saigon to even try to look at it honestly. We talk about the first televised war, the role of the media in dismantling the official narrative, and why that moment connects directly to the journalism at the heart of last episode's The China Syndrome. We go through the production in detail; the typhoon, the replaced lead actor, Martin Sheen's heart attack he publicly called heat stroke so the film wouldn't be shut down, Marlon Brando arriving unprepared and overweight having refused to read the script, and Francis Ford Coppola spending two years in the Philippine jungle slowly losing his mind. His Oscars thrown out a window. Call sheets reading scenes unknown. A wife secretly recording her husband's breakdown in their bedroom. And a director who contemplated ending it all but couldn't quit because it was his own money on the line. We also get into the film itself. The helicopter sequence and the question of whether a film that makes war look that exhilarating can honestly call itself anti-war, Vittorio Storaro's cinematography and what the shifting light is actually arguing, Kurtz and whether a man who sees clearly but acts monstrously is mad or the only honest person in the film. The film and production Apocalypse Now (1979) — IMDb: imdb.com/title/tt0078788Hearts of Darkness: A Filmmaker's Apocalypse (1991) — IMDb: imdb.com/title/tt0102015Eleanor Coppola's Notes on the Making of Apocalypse Now — her 1979 published diary, widely available secondhandCritical writing worth linking Serge Daney's 1979 original review for Cahiers du Cinéma, translated and published by MIT Press: thereader.mitpress.mit.edu/legendary-film-critic-serge-daney-on-apocalypse-nowThe Week's collection of the original 1979 critical reception including Time's Frank Rich calling it "this decade's most extraordinary Hollywood folly": theweek.co.uk/entertainment/5191/apocalypse-now-original-1979-reviewsRoger Ebert's piece on Apocalypse Now criticism and the Richard T. Jameson review he calls "the most lucid thing anyone's ever written about the movie": rogerebert.com (search Apocalypse Now in the Great Movies section)

About

1979 isn't just a film podcast. It isn't just a history podcast. It's a show that describes the films of from one of cinema's most turbulent years and brings you the political, cultural, and societal context. This show captures the very essence of this year in film and explains through deep analysis, historical insight, and political movements, just why the films of 1979 are so unique. It's about a turning point in cinematic history, with 1979 bringing about the end of the New Hollywood era, and heralding the Blockbuster era of the 1980's and 90's. It's that year of cinematic limbo, where films were more about reflecting the politics and culture of the time, no matter where in the world they were produced.