Werner Herzog is a filmmaker with an intuitive sense for showing the right thing at the right time, whether he is offering the story of a maniacal conquistador, Count Dracula, or himself eating his own shoe. Klaus Kinski was, according to many, more monster than man and an actor who resembled the megalomaniacs he portrayed. Together, Herzog and Kinski made five films. Kinski died in 1991; in 1999, Herzog released the documentary My Best Fiend about their relationship. The film combines the ravings of Kinski with the introspection of Herzog and explores the degree to which we are entertained by other people’s volatility, how we fall in love with actors because of small gestures, and our misguided desire to believe that people who create beautiful art are beautiful themselves.In his 2023 memoir, Every Man for Himself and God Against All, Werner Herzog tells his story in his inimitable voice. Herzog by Ebert is a terrific collection of essays about Herzog’s films by the Pulitzer Prize-winning critic. The collection Klaus Kinski: Beast of Cinema contains essays about Kinski’s films and interviews with filmmakers and actors who worked with him.Follow us on X or Letterboxd. Incredible bumper music is by John Deley. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

The 2006 Mel Gibson movie, Apocalypto, takes us into a decadent Maya civilization in the Yucatan on the eve of the Spanish Conquest of Mexico. It could be a commentary on ancient Rome or the present-day US, but, because it is a new world for both the viewer and the forest-dwelling protagonists, we get to see it through ‘new eyes’ and a ‘beginner’s mind.’ It’s a great movie, a cinematic masterpiece. It also allows us to ask how Mel Gibson, a devout Catholic and such a human sinner—as we all are, though when he does something terrible it’s in the news—should proclaim the Gospel after he has fallen from his moral pedestal a few times. We also ask about how the Church should proceed given her many painful scandals. It was a great discussion on the Missio Dei podcast on YouTube and I’m delighted to share it here. Our original YouTube interview on Missio Dei (October 1, 2023) Apocalypto on the Best Pick podcast with John Dorney, Jessica Regan, Tom Salinsky and( guest) Joy Wilkinson (August 24, 2022) The Making of Apocalypto documentary with Mel Gibson.James Empires of death: Apocalypto (2006) on Criteria: The Catholic Film Podcast with James Majewski History article by Richard Hansen: “Relativism, Revisionism, Aboriginalism, and Emic/Etic Truth: The Case Study of Apocalypto.” Related Almost Good Catholics episodes: Joseph González and Monique González on Almost Good Catholics, episode 74: Our Lady of Guadalupe and Aztec True Myth: How the Flower World Bloomed into History in 1531 Brant Hansen on Almost Good Catholics, episode 75: The Men We Need: What Men Are Supposed to Be Doing Other Almost Good Catholics episodes with Jonathon Fessenden: Jonathon Fessenden on Almost Good Catholics, episode 37: Catholic Movies, Pt. 1: Silence and The Scarlet and the Black Jonathon Fessenden on Almost Good Catholics, episode 49: Catholic Movies, Pt. 2: The Mission and A Man for All Seasons Jonathon Fessenden on Almost Good Catholics, episode 58: The Book of Job: Why Do Bad Things Happen to Good People? Jonathon Fessenden on Almost Good Catholics, episode 64: The Fourth Wise Man: Follow Jesus—He’s Getting Away! Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

In a past episode in which they discussed the films of Tom Cruise, Mike told Dan, “You’re the smartest person I know who ever made it all the way through Eyes Wide Shut.” After reading a forthcoming biography of Stanley Kubrick, Dan returned to the film and urged it on Mike, who rewatched it, but who still finds it a total failure. Dan thinks it’s a sobering and startling portrayal of a man exiled from his own Eden—a fool’s Paradise—while Mike finds every element and deviation from established structures to be both ponderous and insincere. Is the film a misunderstood look at the nightmare of not knowing one’s spouse? Or is it simply an indulgent mess? Mike and Dan agree on the quality of 99% of the films they discuss, but like true film fanatics, bicker about the other 1%. Come along for the conversation about what makes a film successful--the password is “Fidelio!”Those on Dan’s side will want to read Eyes Wide Shut: Stanley Kubrick and the Making of his Final Film. Those on Mike’s will want to urge Syd Field’s famous Screenplay: The Foundations of Screenwriting on their opponents.Follow us on X or Letterboxd. Incredible bumper music is by John Deley. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Once upon a time, if you wanted to know if a movie was worth seeing, you didn’t check out Rotten Tomatoes or IMDB. You asked whether Siskel & Ebert had given it “two thumbs up.”On a cold Saturday afternoon in 1975, two men (who had known each other for eight years before they’d ever exchanged a word) met for lunch in a Chicago pub. Gene Siskel was the film critic for the Chicago Tribune. Roger Ebert had recently won the Pulitzer Prize—the first ever awarded to a film critic—for his work at the Chicago Sun-Times. To say they despised each other was an understatement.When they reluctantly agreed to collaborate on a new movie review show with PBS, there was at least as much sparring off-camera as on. No decision—from which films to cover to who would read the lead review to how to pronounce foreign titles—was made without conflict, but their often-antagonistic partnership (which later transformed into genuine friendship) made for great television. In the years that followed, their signature “Two thumbs up!” would become the most trusted critical brand in Hollywood.In Opposable Thumbs: How Siskel & Ebert Changed Movies Forever (G.P. Putnam's Sons, 2023), award-winning editor and film critic Matt Singer eavesdrops on their iconic balcony set, detailing their rise from making a few hundred dollars a week on local Chicago PBS to securing multimillion-dollar contracts for a syndicated series (a move that convinced a young local host named Oprah Winfrey to do the same). Their partnership was cut short when Gene Siskel passed away in February of 1999 after a battle with brain cancer that he’d kept secret from everyone outside his immediate family—including Roger Ebert, who never got to say goodbye to his longtime partner. But their influence on in the way we talk about (and think about) movies continues to this day.Matt Singer is the editor and film critic of ScreenCrush and a member of the New York Film Critics Circle. He won a Webby Award for his work on the Independent Film Channel’s website. He lives in Brooklyn with his wife and two daughters.Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O’Connor: Her Critics, Her Publishers, Her Readers and articles on G. K. Chesterton and John Ford, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

In the oceans of ink devoted to the monumental movie star/businesswoman/political activist Elizabeth Rosemond Taylor (1932-2011), her beauty and not-so-private life frequently overshadowed her movies. While she knew how to generate publicity like no other, her personal life is set aside in this volume in favor of her professional oeuvre and unique screen dynamism. In On Elizabeth Taylor: An Opinionated Guide (Oxford UP, 2024), her marriages, illnesses, media firestorms, perfume empire, violet eyes, and AIDS advocacy take a back seat to Elizabeth Taylor, the actress.Taylor's big screen credits span over fifty years, from her pre-adolescent debut in There's One Born Every Minute (1942) to her cameo in The Flintstones (1994). She worked steadily in everything from the biggest production in film history (Cleopatra in 1963) to a humble daytime TV soap opera (General Hospital in 1981). Each of her sixty-seven film appearances is recapped here with background on their inception, production, release, and critical and financial outcome. On Elizabeth Taylor: An Opinionated Guide is a cradle-to-grave chronology of Taylor's life, noting key events, achievements, and milestones. This book offers a work-by-work analysis of her entire career told in chronological order, each film headlined with year of release, distributing studio, and director. This in-depth overview provides an invaluable new way of understanding Taylor's full life and work, as well as the history and nuances of the film industry as it existed in the twentieth century.Kennedy engagingly reassesses Taylor's acting and the nuances she brought to the screen - this includes a consideration of her specific art, the development of her voice, her relationship to the camera, and her canny understanding of the effect she had on audiences worldwide. Kennedy also provides an elucidating guide to her entire filmography, one that speaks to the quality of her performances, their contours and shading, and their context within her extraordinary life and career. On Elizabeth Taylor is a beautifully comprehensive overview of a singular actress of the twentieth century, offering new ways to see and appreciate her skill and peerless charisma, in turn placing her among the greatest film stars of all time.Matthew Kennedy is a film historian based in Oakland, California. He is the author of Roadshow! The Fall of Film Musicals in the 1960s, biographies of actresses Marie Dressler and Joan Blondell, and of director-screenwriter Edmund Goulding. He has introduced film series at the Museum of Modern Art, UCLA Film & Television Archive, and Pacific Film Archive, and written for the San Francisco Silent Film Festival, Turner Classic Movies, and the National Film Registry. He is currently host and curator of the CinemaLit series at the Mechanics' Institute Library in San Francisco.Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O’Connor: Her Critics, Her Publishers, Her Readers and articles on G. K. Chesterton and John Ford, he teaches research and Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Anti-Heimat Cinema: The Jewish Invention of the German Landscape (U Michigan Press, 2020) studies an overlooked yet fundamental element of German popular culture in the twentieth century. In tracing Jewish filmmakers' contemplations of "Heimat"-- a provincial German landscape associated with belonging and authenticity -- it analyzes their distinctive contribution to the German identity discourse between 1918 and 1968. The book shows how these filmmakers devised the landscapes of the German "Homeland" as Jews, namely as acculturated "outsiders within." Through appropriation of generic Heimat imagery, the films discussed in the book integrate criticism of national chauvinism into German mainstream culture from the end of World War One to the early decades of the Cold War. Consequently, the Jewish filmmakers discussed in this book anticipated the anti-Heimatfilm of the ensuing decades and functioned as an uncredited inspiration for the critical New German Cinema.Ofer Ashkenazi is an Associate Professor of History and the Director of the Richard Koebner-Minerva Center for German History at the Hebrew University of Jerusalem. He published monographs and articles on various topics in modern German and German-Jewish history, including Weimar visual culture, the German antiwar movement, and the German memory of Nazism and the Holocaust. His current project considers photographs that were taken by Jews to document their daily life in Nazi Germany.Amir Engel is currently a visiting professor at the faculty of theology at the Humboldt University in Berlin. He is also the chair at the German department at the Hebrew University. Engel studied philosophy, literature, and culture studies at the Hebrew University and completed his PhD. in the German Studies department at Stanford University. He is the author of Grshom Scholem: an Intellectual biography that came out in Chicago in 2017. He also published works on, among others, Jacob Taubes, Hannah Arendt, and Hans Jonas. He is currently working on a book titled "The German Spirit from its Jewish Sources: The History of Jewish-German Occultism". The project proposes a new approach to German intellectual history by highlighting marginalized connections between German Occultism, its Christian sources notwithstanding, and Jewish sources, especially the Jewish mystical tradition. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Can a film do everything wrong yet still find its defenders, who not only acknowledge each of the film’s faults but find these faults endearing? Such is the case with Mike and The Omen, the 1976 Richard Donner blockbuster that—like Satan himself—has spawned sequels, remakes, and imitations. Dan tries to point out all the things that are bad about The Omen, but Mike spins each one into a perverse mark of greatness and claims that the film somehow rises above them in its high seriousness. Whether you think The Omen a terrifying morality tale or simply The Devil and Atticus Finch, give it a listen. We’ll tell you where to find the birthmark.Interested in a great novel about a kid as awful as Damien Thorn? Check out William March’s The Bad Seed.Follow us on X or Letterboxd. Opening music by Jerry Goldsmith from the film’s official soundtrack; closing music by Sing King. Our usual incredible bumper music is by John Deley. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Jennifer Cazenave’s An Archive of the Catastrophe: The Unused Footage of Claude Lanzmann’s Shoah (SUNY Press, 2019) is a fascinating analysis of the 220 hours of outtakes edited out of the final nine and a half-hour 1985 film with which listeners and readers might be familiar. Well known around the world as one of the greatest documentary films ever made, and certainly one of the most important works/artifacts of Holocaust history and memory, Lanzmann’s eventual finished film emerged from an astonishing 230 hours of interview footage shot in various locations. Commissioned originally by the State of Israel to make a film about the catastrophe, Lanzmann collected these testimonies over a period of several years before beginning the epic task of editing the film. He saved the outtakes as a vital repository of accounts of those who had lived through the Shoah. The footage has since been acquired, preserved, and digitized as an archive by the United States Holocaust Memorial Museum.The chapters of Cazenave’s book explore the film’s conceptualization and production, reframing the final film in terms of all that it left out, to think about what was included in relationship to those stories and scenes excluded for different reasons. Over years from an initial dissertation project to this volume, Cazenave pursued the story of the film and its outtakes through archival research, detective work, and close technical, aesthetic and theoretical consideration. The resulting analysis takes author and reader from consideration of the film/archive in relationship to Holocaust trials (and especially the Eichmann trial of 1961), to issues of gender and the feminine, to the question of rescue and refugees, as well as debates about representation, witnessing, and testimony. The book is a wonderful and complex study that will be of great interest to readers in Holocaust and cinema studies. The magnum opus of a French filmmaker working with a largely French crew, and produced with funding provided in part by the French government, the film also illuminates, in its own ways (including its silences) the difficult French past and politics of Holocaust history and memory.Roxanne Panchasi is an Associate Professor of History at Simon Fraser University in Vancouver, Canada who specializes in twentieth and twenty-first century France and empire. She is the founding host of New Books in French Studies, a channel launched in 2013. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

In this episode of High Theory, Pardis Dabashi tells us about plot. A plot consists of a change with stakes that establish norms. This seemingly simple structure shapes novels, films, politics, and our world, from easy seductions of comfort to difficult promises of liberation.In the episode, Pardis references Thomas Edison’s 1903 film, Electrocuting an Elephant, which is super sad, and kind of terrifying, but an economical explanation of plot. She also discusses Max Ophüls’s 1953 film, The Earrings of Madame de... as an example of a film with a potentially liberatory plot. We recommend you watch the latter, not the former. Other texts referenced in this episode include Mary Anne Doane’s The Emergence of Cinematic Time (Harvard, 2002) and Lauren Berlant’s Cruel Optimism (Duke, 2011) and Female Complaint (Duke, 2008).The occasion for our conversation was Pardis’s new book, Losing the Plot: Film and Feeling in the Modern Novel (U Chicago Press, 2023). If you’d like to get yourself a copy there’s a 30% discount on the University of Chicago Press website with the promo code UCPNEW. It’s a book about film and literary modernism, including the work of Nella Larsen, Djuna Barnes, and William Faulkner. The cover is really beautiful, and it’s definitely worth a read if you’re interested in either of the genres it addresses.Pardis Dabashi is an Assistant Professor of Literatures in English and Film Studies at Bryn Mawr College, where she is also Affiliated Faculty in the Middle Eastern, Central Asian, and North African Studies Program (MECANA). She has published everywhere, and is friends with everyone! She teaches courses in twentieth-century literature, film studies, Middle East studies, and theory. She was also one of the first guests on High Theory! You can listen to her 2020 episode on The Autonomous Work of Art if you’re feeling a flashback.The image for this episode is a publicity still from George Cukor’s 1936 MGM film Camille, showing Greta Garbo and Robert Taylor in a tense embrace. Digital image from Wikimedia Commons. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

On June 18, 1969, "The Wild Bunch" premiered to critical success. Over the past 50 years it has been rightly recognized as one of the landmark films from the end of the Hollywood studio system. Yet it was developed out of chaos, with a controversial director who had already largely burned his bridges with Hollywood studios. Sam Peckinpah worked for years to film a story that both illustrated the end of the “Old West” and also showed how newer filmmakers wanted to proceed with their newfound independence. W. K. Stratton’s book The Wild Bunch: Sam Peckinpah, a Revolution in Hollywood, and the Making of a Legendary Film (Bloomsbury, 2019) describes all of these activities as it wonderfully tells the story of the film.  Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film