We continue this episode with To Have and Have Not, a 1944 production directed by Howard Hawks. In this film, Bogart plays a sport tourism fisherman who's asked to use his boat to assist the French Resistance in Martinique. He meets up with Marie "Slim" Browning (Lauren Bacall) and that's where the fireworks started, both on and off screen.

If you don't know how to whistle, Bacall offers up a fine lesson for you.

COMING ATTRACTIONS:

Next time, we take our first foray into silent films, with DW Griffith's Intolerance, from 1916, and Liberty Heights, from 1999, directed by Barry Levinson. These films were made in response to criticisms of earlier films from those directors. Join us, won't you?

Casablanca is a film that Sean and I have wanted to cover for a long time, but there was a little bit of a struggle to find a good film to pair it with. Not because there were so few, but because there were so MANY.

Finally we came up with focusing on Humphrey Bogart himself rather than on the overall theme of the film. And then there was the realization that Bogart had a couple of films where he was a reluctant hero in a World War Two setting, with the key word being "reluctant."

So we open with Casablanca, from 1942, directed by Michael Curtiz. Hal Wallis got the rights to the play just a few weeks after Pearl Harbor, so it wound up having a much bigger impact than it might have had before we entered the war.

In Part Two, we see how Howard Hawks would handle a reluctant hero.

In the second half of our episode, we take a peek at THE COMPANY (2003), a fictional story involving a real ballet company, with a couple of actors thrown in who aren't professional ballet dancers.

As with any Altman film, there's a lot going on, usually simultaneously, and there are are a couple of throughlines making their way through a bunch of set pieces. But once you get used to Altman's cadences, you'll enjoy yourself throughout.

COMING ATTRACTIONS:

In our next episode, Humphrey Bogart joins the Resistance. We begin with CASABLANCA, which we could have easily spent the entire episode reviewing. Fortunately for you we showed some restraint and moved on to TO HAVE AND HAVE NOT, which takes a very different tack on the subject. Join us, won't you?

In today's episode we're going to have a look at a couple of films made several decades apart that look at the goings-on behind the scenes in ballet companies.

In this half of the episode, we're reviewing THE RED SHOES (1948), directed by Michael Powell and Emeric Pressburger. We have impresario-type behavior, composers with big egos, love triangles, and all of it rather thinly overlaid on a Hans Christian Andersen story. But that's not a bad thing, even though there's at least one sticking point where Sean and I disagree. (It's minor, but we're each staying to our own side of the street on this one.)

In Part 2 we jump into this century for a Robert Altman film.

In Part 2 of today's episode, we look at TRISTRAM SHANDY: A COCK AND BULL STORY, directed by Michael Winterbottom. Steve Coogan is an exaggerated version of himself (we hope), playing the title character in the film adaptation of The Life and Opinions of Tristram Shandy, Gentleman. He's constantly sparring with another actor in the film over the relative importance of their roles. The director doesn't appear to have a good handle on the source material, but oddly enough the two people who do are constantly ignored. If you've ever watched a film and wondered "How did this get made?", this might provide the answer.

COMING ATTRACTIONS: Next time, we go to the ballet, starting with the 1948 film THE RED SHOES, written and directed by Michael Powell and Emeric Pressburger. Sean and Claude both enjoyed this film while having some rather different opinions about it. From there we move on to 2003's THE COMPANY, directed by Robert Altman. It follows a season of rehearsal and performances at the Joffrey Ballet. It stars Neve Campbell, James Franco, and Malcolm McDowell. As with any Altman film, it's a little hard to follow at first but once you relax into his rhythms, you'll have a great time. Join us, won't you? .

Hey there! LTNS!

Today we take a look at a pair of films that deal with the creation of a film, but the catch is that the source material is notoriously difficult to adapt. Consequently the crux of the story we see involves the difficulty the creators are having putting the thing together.

We start with ADAPTATION (2002), directed by Spike Jonze. We've got a terrific ensemble cast including Nicolas Cage, Chris Cooper, Meryl Streep and more. Cage is a man who suffers from anxiety and depression, and he can't get his act together to write an adaptation of the book The Orchid Thief. His twin brother shows up and decides that he wants to write a movie script. Hijinks ensue.

Now that we've seen the struggles with the script writing process, move on to Part 2, where we observe the struggles with the filmmaking side of things.

As you no doubt know, actor/director/producer Robert Redford died last week at the age of 89.

Now, lots and lots of people took the time to look back at his film career, so Sean and Claude took a different tack and reviewed a different aspect of Redford's legacy: the Sundance Film Festival.

Redford wasn't one of the original founders, but he came in very early in the process, and just having his name attached to it gave the festival a new focus and level of prestige.

Way, way back in Episode 12, we looked at Stage Door and All About Eve, a couple of films about the theater industry that had practically no theater in them.

We're going back to that well only only 76 episodes later, with today's look at two films that also deal with stage performers and the things that go into getting something on the boards. But where Part 1 stuck to the United States, this time around we take you to Europe.

Here in the first half we bring you Topsy Turvy (1999), a British film that gives us a (mostly true) account of how Gilbert and Sullivan managed to put together one of their most famous works, The Mikado.

In Part 2 we take on a more Continental flavor with The Clouds of Sils Maria.

In the second half of our episode, we check out Clouds of Sils Maria (2014), which is definitely a tonal shift from the first half.

Kristen Stewart is the American assistant to an international star of stage and screen played by Juliette Binoche. The death of a former mentor leads her to consider the implications of time, aging, culture in general, and the blurring lines between relationships. We're making it sound a little dry here, but it's truly compelling.

COMING ATTRACTIONS:

In Reel 89 we look at some self-aware adaptations. We start with Adaptation (2002), then move on to Tristram Shandy: A Cock and Bull Story (2005). Join us, won't you?

From New York we head down to Baltimore, Maryland for DINER (1982) written and directed by Barry Levinson. This film was, in fact, shot in and around Baltimore, and Claude takes the time to flex his Baltimore geography knowledge. (By the way, when you're visiting the gravesite he mentions during the episode, you can also visit the grave of John Wilkes Booth, perhaps the best-marked unmarked grave in America.)

COMING ATTRACTIONS:

Next time we'll be doing a follow-up to Reel 12, with more Backstage Drama, with a slight twist. We'll start with TOPSY TURVY (1999) and move on to THE CLOUDS OF SILLS MARIA (2014). Join us, won't you?

This episode takes you to the places where a pair of directors grew up. Coincidentally, these places are also the stomping grounds for Your Humble Hosts.

We begin with MEAN STREETS (1973) . directed and co-written by Martin Scorsese, which is set in New York City. (Yeah, it was filmed in Los Angeles, but they found good locations so you don't really notice.) Scorsese weaves a tale through several incidents which were likely lifted from his life.

In Part 2, we'll go to Baltimore and have a bite at a DINER.