The Next Reel Film Podcast

“I think I could turn into you if I really tried.”Talking About Persona with our guest, writer/director Sophie BarthesOn this episode of Movies We Like, we speak with writer/director Sophie Barthes about one of her favorite films, Ingmar Bergman’s 1966 psychological drama Persona. We also discussed Barthes' own directing career and thoughts on filmmaking.We have an in-depth discussion about Bergman's avant-garde masterpiece Persona, analyzing its dreamlike atmosphere, innovative editing and cinematography, complex characters and themes of identity and psychology. We talk about how the film's shocking opening montage and sparse narrative puts the viewer in an unsettled state of mind. Overall, we find Persona to be an endlessly discussable classic that still feels fresh and boundary-pushing today.We also speak with Barthes about her three feature films - Cold Souls, Madame Bovary, and The Pod Generation. Barthes explains how she often explores themes of consumerism, psychology and identity through different genres and time periods. She shared insights into her creative process, from conceptualizing stories based on her dreams to her highly-stylized production design. Barthes also discussed the challenges of portraying human truths and darkness as a director today versus Bergman's time.Barthes gives thoughtful perspective as both a director and film lover. Her pick certainly leads to a rich discussion about cinematic art today as Persona proves to be a multilayered classic ripe for analysis.Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel’s Movies We Like through your own membership with The Next Reel.Check out Sophie’s filmsCold SoulsMadame BovaryThe Pod Generation on Amazon or AppleWatch Persona on Apple or Amazon, or find other places at JustWatchScript OptionsTheatrical trailerPoster artworkFlickchartLetterboxd Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here.Follow the other podcasts in The Next Reel’s family of film podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeSitting in the DarkJoin the conversation with movie lovers from around the world in our Discord community!Here’s where you can find us around the internet:The WebLetterboxdFacebookInstagramThreadsBlueskyYouTubeFlickchartPinterestPete AndyWhat are some other ways you can support us and show your love? Glad you asked!You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.Or buy or rent movies we’ve discussed on the show from our WATCH PAGE.Or buy books, plays, etc. that was the source for movies we’ve discussed on the show from our ORIGINALS PAGE.Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.Or sign up for AUDIBLE.

“If you’re an Eastman, you’re not in the same boat with anyone.”Based on the 1925 novel An American Tragedy by Theodore Dreiser, A Place in the Sun tells the story of working-class George Eastman (Montgomery Clift), who moves in with his wealthy uncle's family and begins a romantic relationship with an affluent young woman named Angela Vickers (Elizabeth Taylor). However, he becomes entangled in a love triangle when his co-worker Alice Tripp (Shelley Winters) reveals she is pregnant with his child. This film adaptation was a critical and commercial success, earning six Academy Awards including Best Director for George Stevens. Join us – Pete Wright and Andy Nelson – as we continue the 1952 Academy Awards Best Cinematography • Black-and-White Nominees series with a conversation about A Place in the Sun.Here's a hint at what we talk about:We dive deep into the performances, especially praising Montgomery Clift for his nuanced and multilayered portrayal of the morally conflicted George Eastman. We also discuss how this story explores themes related to social class, the American dream, and ambition. Though we find the film compelling and expertly crafted overall, we do question some of the legal specifics of the ending.Here are a few other points in our discussion:The cinematography and lighting choices that enhance the film's mood and dramaElizabeth Taylor's breakout dramatic performance at age 17Similarities to the real-life murder case that inspired the source novelWhether this story could lend itself well to modern remakesA Place in the Sun is a riveting and thought-provoking film with fantastic lead performances. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchScript OptionsTheatrical trailerPoster artworkFlickchartLetterboxd Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here.Follow the other podcasts in The Next Reel’s family of film podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeSitting in the DarkJoin the conversation with movie lovers from around the world in our Discord community!Here’s where you can find us around the internet:The WebLetterboxdFacebookInstagramThreadsBlueskyYouTubeFlickchartPinterestPete AndyWhat are some other ways you can support us and show your love? Glad you asked!You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.Or buy or rent movies we’ve discussed on the show from our WATCH PAGE.Or buy books, plays, etc. that was the source for movies we’ve discussed on the show from our ORIGINALS PAGE.Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.Or sign up for AUDIBLE.

“Of all the strange breeds that mighta come along, it was their bad luck to get me.”In the years during and after World War II, the exploits of US Navy frogmen captured the American imagination. Seeking to showcase them on the silver screen, Hollywood producers worked closely with the Navy starting in 1950 to develop the film The Frogmen. The Navy provided extensive support, training actors using real frogmen drills and equipping them with state-of-the-art gear. Filming underwater presented huge challenges with the bulky cameras of the time. Join us – Pete Wright and Andy Nelson – as we continue our 1952 Academy Award Best Cinematography Black-and-White Nominees series with a conversation about Lloyd Bacon’s 1951 film The Frogmen.Released in 1951, The Frogmen gave audiences an unprecedented look into the adventures of these elite naval commandos – the Underwater Demolitions Team, or UDT. A major part of our conversation was about the underwater filming used extensively throughout the movie. We were impressed by how they shot underwater action, since this was brand new and innovative in 1951. While the pacing seems slow now, those scenes must have been thrilling for audiences when it first came out. We speculated that the underwater cinematography is probably why it got the Oscar nomination.We also talked a lot about the dynamic between Richard Widmark as the new commander and Dana Andrews as the chief who questions his leadership. Their contentious relationship drives much of the conflict and drama as they gradually gain mutual respect.Some key scenes stand out that represent the film’s strengths to us. Disarming the live torpedo ratchets up the tension and shows Widmark’s courage. The rope transfer between ships demonstrates the Navy’s technical input. Planting the prank sign highlights real rivalries between units. And even though the final underwater fight pushes the action beyond historical truth, it’s clear that it’s designed for drama and emphasizes what the UDT was actually doing when the film was released.Overall, we found The Frogmen to be enjoyable but not that memorable. The underwater footage remains the main appeal today, though perhaps military fans would be more inclined to revisit it. The film could use a restoration. But Widmark’s performance and the naval insight still make it worth watching. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchTheatrical trailerPoster artworkFlickchartLetterboxd Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here.Follow the other podcasts in The Next Reel’s family of film podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeSitting in the DarkJoin the conversation with movie lovers from around the world in our Discord community!Here’s where you can find us around the internet:The WebLetterboxdFacebookInstagramThreadsBlueskyYouTubeFlickchartPinterestPete AndyWhat are some other ways you can support us and show your love? Glad you asked!You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.Or buy or rent movies we’ve discussed on the show from our WATCH PAGE.Or buy books, plays, etc. that was the source for movies we’ve discussed on the show from our ORIGINALS PAGE.Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.Or sign up for AUDIBLE.

“Why are you so hateful to one another?”Kicking Off Our Next Series With a Conversation About László Benedek’s 1951 Film Death of a SalesmanIt had only been a few years since Arthur Miller’s play made its successful debut, and the story was exactly the sort producer Stanley Kramer sought out. He brought László Benedek on to direct and Stanley Roberts on to adapt it for the screen. Unfortunately, the film was a box office flop, whether due to the studio’s concerns about its anti-American themes or audiences seeking lighter entertainment after World War II. Still, Benedek and Kramer assembled a strong adaptation of Miller’s story, even if Miller himself wasn’t a fan. Join us – Pete Wright and Andy Nelson – as we kick off our series looking at the 1952 Academy Award nominees for Best Cinematography • Black-and-White. We’ll be discussing Benedek’s 1951 film Death of a Salesman.Here’s a hint at what we talk about.We closely analyze the strained father-son relationships that drive the narrative. Salesman Willy Loman (Frederic March) and his older son Biff (Kevin McCarthy) have a fractured bond ever since Biff discovered Willy's affair years before. This broken trust continues to shape their tense interactions, as Biff struggles to meet Willy's high expectations.We also examine the symbolic role of Willy's wealthy brother Ben, who appears in visions. Ben represents Willy's glorified notions of the American Dream and success. While Willy finds inspiration in Ben's purported business ventures abroad, he never pursues such risks himself. This critique of capitalism's empty promises factors heavily in the story.Much of our discussion also focuses on Franz Planer's evocative cinematography. We analyze Planer's striking lighting, camerawork and framing as part of our ongoing series on the 1952 Best Cinematography nominees. Despite a poor quality print, we note innovative techniques like scenes reflected in shadows. The transitions between reality and memory are especially inventive, showcasing advantages of adapting the stage play cinematically.Additional topics include:Mildred Dunnock's strong performance as the supportive yet insightful Linda LomanBenedek's clever transitions between the past and presentWhy the play still resonates through countless reinterpretationsWhether you know Miller's famous play or are discovering it for the first time, don't miss our engaging discussion of this impactful American tragedy. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Script OptionsPoster artworkFlickchartLetterboxd Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here.Follow the other podcasts in The Next Reel’s family of film podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeSitting in the DarkJoin the conversation with movie lovers from around the world in our Discord community!Here’s where you can find us around the internet:The WebLetterboxdFacebookInstagramThreadsBlueskyYouTubeFlickchartPinterestPete AndyWhat are some other ways you can support us and show your love? Glad you asked!You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.Or buy or rent movies we’ve discussed on the show from our WATCH PAGE.Or buy books, plays, etc. that was the source for movies we’ve discussed on the show from our ORIGINALS PAGE.Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.Or sign up for AUDIBLE.

“We're fighting for something that has to be, that can't help coming. The road may be long and hard, but we'll get there and we'll see a better world. And our children especially will see it.”Rome Wasn't Built in a Day, But This Movie Sure WasRome, Open City is adapted from a book of true stories about living through the Nazi occupation. Co-writer and director Roberto Rossellini took these tales of survival and wove them into a gripping drama about the Italian resistance. Filmed using non-professional actors and real Roman locations, the movie has a gritty, documentary feel. Join us – Pete Wright and Andy Nelson – as we conclude our series on the nominees of the 1947 Academy Awards for ‘Best Writing, Screenplay’ with Rossellini's iconic 1945 film Rome, Open City. Reel Talk on Real LifeWe unpack this landmark of Italian neorealism that was filmed on the war-torn streets of Rome just months after the Nazi occupation ended. The filmmakers wanted to capture the rawness of life during wartime. Iconic scenes like Pina's death as she runs after the Nazi truck became cinematic landmarks. The movie birthed a whole movement in Italian neorealism.Women Navigating Impossible ChoicesPina, played unforgettably by Anna Magnani, is the fiancée of resistance fighter Francesco. Her violent death scene is one of the film's most wrenching moments. Dancer Marina gets caught up spying for the Nazis in exchange for drugs and fur coats. We see how she becomes compromised and is discarded when no longer useful. German officer Ingrid manipulates Marina through addiction. She represents the female face of Nazi villainy and moral corruption.War's Impact on the Next GenerationThe tragedy of the film is how war devastates the lives of children like Pina's son and the street boys who witness Pietro's death. Yet the image of these boys resolutely marching back into the city provides a hopeful note that the youth may lead Italy to a better future.Enduring Classic Is BornRome, Open City packs an emotional punch that holds up decades later. It's essential viewing for anyone interested in Italian cinema or World War II stories. This landmark film demonstrates how constraints can breed art and truth. So check it out then tune in! The Next Reel – when the movie ends, our conversation begins.Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchScript OptionsTheatrical trailerPoster artworkFlickchartLetterboxd Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here.Follow the other podcasts in The Next Reel’s family of film podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeSitting in the DarkJoin the conversation with movie lovers from around the world in our Discord community!Here’s where you can find us around the internet:The WebLetterboxdFacebookInstagramThreadsBlueskyYouTubeFlickchartPinterestPete AndyWhat are some other ways you can support us and show your love? Glad you asked!You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.Or buy or rent movies we’ve discussed on the show from our WATCH PAGE.Or buy books, plays, etc. that was the source for movies we’ve discussed on the show from our ORIGINALS PAGE.Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.Or sign up for AUDIBLE.

“If might is right, then love has no place in the world.”Talking About The Mission with our guest, Academy Award-winning costume designer Deborah L. ScottAndy and legendary costume designer Deborah L. Scott dive deep into Roland Joffé’s 1986 masterpiece The Mission, an intense and emotional story of faith, colonialism, and redemption. Set in 18th century South America, this Best Picture Oscar nominee boasts an incredible cast and a stunning visual style.Jeremy Irons delivers an incredible performance as Father Gabriel, a Jesuit priest trying to build a mission in the jungle and protect the indigenous Guarani people. Robert De Niro is unforgettable as Rodrigo Mendoza, a mercenary and slaver who murdered his own brother and seeks forgiveness and redemption by becoming a Jesuit priest. The complex story deftly explores the intersection of religion, politics, and colonialism during this volatile historical period. From the lush South American jungles to the thundering Iguaçu Falls, the movie is a visual feast, thanks in large part to Chris Menges' Oscar-winning cinematography. Ennio Morricone’s haunting, Golden Globe-winning score adds an emotional weight that permeates each scene. Though Deborah did not work on this film, she provides an insider's appreciation for Enrico Sabbatini’s period costumes which also help transport viewers to 18th century South America.Deborah’s Legendary Career in Costume DesignDeborah also discusses highlights from her amazing career in costume design, including unforgettable films like Titanic, Back to the Future, Avatar, Heat, and yes, even Armed and Dangerous. She shares fascinating stories about how iconic costumes were created and working with visionary directors like James Cameron, Robert Zemeckis, and Michael Mann.The Mission is a powerful and unforgettable film that stays with you long after the credits roll. Deborah and Andy's insightful conversation highlights why the movie remains so impactful decades later. Plus, hearing Deborah's stories provides a fascinating look behind-the-scenes at her legendary costume design career. Join the conversation with movie lovers from around the world in our Discord community!Film SundriesLearn more about supporting Movies We Like through your own membership with The Next Reel family of podcasts.Follow Deborah on InstagramWatch this on Apple or Amazon, or find other places at JustWatchScript OptionsTheatrical trailerPoster artworkFlickchartLetterboxd Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here.Follow the other podcasts in The Next Reel’s family of film podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeSitting in the DarkJoin the conversation with movie lovers from around the world in our Discord community!Here’s where you can find us around the internet:The WebLetterboxdFacebookInstagramThreadsBlueskyYouTubeFlickchartPinterestPete AndyWhat are some other ways you can support us and show your love? Glad you asked!You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.Or buy or rent movies we’ve discussed on the show from our WATCH PAGE.Or buy books, plays, etc. that was the source for movies we’ve discussed on the show from our ORIGINALS PAGE.Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.Or sign up for AUDIBLE.

“I tell ya what’s gonna happen. We’re gonna kill a Swede.”The Killers: Dissecting a Landmark NoirRobert Siodmak’s 1946 crime drama The Killers earned four Oscar nominations at the 19th Academy Awards, including Best Director for Siodmak and Best Adapted Screenplay. The influential film noir also marked the screen debut of Hollywood legend Burt Lancaster. Join us – Pete Wright and Andy Nelson – as we continue our series on the 1947 Academy Award Best Writing, Screenplay nominees with an in-depth discussion about Siodmak’s 1946 film The Killers.Behind the Stylish Noir LensBased on Ernest Hemingway’s 1927 short story, The Killers greatly expands the sparse source material into a complex, nonlinear narrative involving murder, robbery and betrayal. Director Siodmak utilizes creative camera angles and lighting techniques to craft a visually stunning noir landscape. Cinematographer Woody Bredell’s high-contrast, shadowy aesthetic defines the classic film noir look and feel. Lancaster shines in his first on-screen role as Ole “The Swede” Anderson, a washed-up boxer mixed up in a criminal underworld scheme. His powerful performance launched the charismatic new star to fame. Ava Gardner embodies the femme fatale archetype as the alluring but dangerous siren Kitty Collins.Standout Elements of This Influential Crime DramaThe opening 12 minutes closely follow Hemingway’s original story before transitioning into a complex, nonlinear narrative structure, utilizing flashbacks from multiple perspectives to unravel the central mystery.We discuss the extended single-take heist scene, staged with incredible choreography and camerawork, as a prime example of Siodmak’s skilled direction.Miklós Rózsa’s propulsive, jazz-inspired score sets the ominous, moody tone throughout the shadowy proceedings.We debate whether splitting the protagonist role (the Swede) from the main character (the insurance investigator) dilutes the hard-boiled noir narrative.It’s a great film with much to dissect, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchScript OptionsTheatrical trailerPoster artworkFlickchartLetterboxd Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here.Follow the other podcasts in The Next Reel’s family of film podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeSitting in the DarkJoin the conversation with movie lovers from around the world in our Discord community!Here’s where you can find us around the internet:The WebLetterboxdFacebookInstagramThreadsBlueskyYouTubeFlickchartPinterestPete AndyWhat are some other ways you can support us and show your love? Glad you asked!You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.Or buy or rent movies we’ve discussed on the show from our WATCH PAGE.Or buy books, plays, etc. that was the source for movies we’ve discussed on the show from our ORIGINALS PAGE.Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.Or sign up for AUDIBLE.

“This is my whole world, and it’s enough – or rather it was until a few weeks ago.”David Lean had already adapted Noël Coward three times for the silver screen by the time he set out to adapt Brief Encounter. Clearly, he connected with Coward’s material, and also proven himself adept at it. His last adaptation of Coward’s work is the one-act play “Still Life,” and with that he made a touching and heartbreaking movie – at least for some. Join us – Pete Wright and Andy Nelson – as we continue our 1947 Academy Award Best Writing Screenplay nominees series with Lean’s 1945 film Brief Encounter.Here’s a hint at what we talk about.We set things up with a bit of a chat about Coward and his plays, comparing him a bit to Neil Simon. This film’s an expanded version of the one-act so we discuss the changes and how it reshaped the story a bit. There’s a definite split in our conversation, as Pete struggles with the lack of consumating the relationship making things such a big deal for Laura and Alec. Andy connects with it more, while certainly acknowledging the characters’ struggles feel of the time and place. From there, we talk character and our two leads – Celia Johnson and Trevor Howard, and spend a bit of time discussing the fabulous look throughout this film and what Lean brought to the table.We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchScriptTheatrical trailerPoster artworkFlickchartLetterboxd Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here.Follow the other podcasts in The Next Reel’s family of film podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeSitting in the DarkJoin the conversation with movie lovers from around the world in our Discord community!Here’s where you can find us around the internet:The WebLetterboxdFacebookInstagramThreadsBlueskyYouTubeFlickchartPinterestPete AndyWhat are some other ways you can support us and show your love? Glad you asked!You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.Or buy or rent movies we’ve discussed on the show from our WATCH PAGE.Or buy books, plays, etc. that was the source for movies we’ve discussed on the show from our ORIGINALS PAGE.Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.Or sign up for AUDIBLE.

“Nobody’s job is safe with all these servicemen crowding in.”Struggles of All Types for Post-War VeteransThe end of World War II brought a wave of veterans back to American society and an array of challenges as they tried to reintegrate and reconnect with family, friends, jobs and a society that struggled to fully understand their war experience. William Wyler’s 1946 multiple Oscar winner “The Best Years of Our Lives” tackles this subject with grace, nuance and warmth through the stories of three veterans returning to the fictional town of Boone City. Join us – Pete Wright and Andy Nelson – for an in-depth conversation about this magnificent film that details the post-war life of a trio of servicemen - each a different rank and from varied socioeconomic backgrounds - as they try to reestablish their lives and rediscover purpose with loved ones as we continue our 1947 Academy Award Best Writing Screenplay nominee series with a look at Wyler’s 1946 classic The Best Years of Our Lives.Here’s a hint at what we talk about:The film begins with our three protagonists – Fred, Al and Homer – meeting by chance on a flight home, immediately establishing the camaraderie and connection that comes from shared experience. However, their stories quickly diverge as each tries to reintegrate into society and reconnect with jobs, family and partners with varying degrees of success.Fred was a captain and bomber pilot but now finds himself unable to get a job despite his officer status. Al is a married sergeant and banker struggling with alcoholism and a family dynamic that shifted in his absence. Homer, who lost his hands in combat, worries that his girl won’t still love him with prosthetic hooks.The performances are extraordinary, led by Best Actor winner Fredric March along with Dana Andrews and real veteran and double Oscar winner Harold Russell in his film debut. The women – Myrna Loy, Teresa Wright, Cathy O’Donnell, and Virginia Mayo – each play their roles with nuance, rounding out the principal cast.Beyond the acting, William Wyler’s direction is exquisite, with cinematographer Gregg Toland delivering long, deep focus shots that enhance storytelling and emotion. It's a searing, humanistic look at the complexities of war's aftermath and the resilience of the human spirit.We unpack this layered, resonant story and Wyler’s masterful direction. It remains painfully relevant today and delivers a complex, poignant punch. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchWatch Diary of a Sergeant featuring Harold RussellScript OptionsTheatrical trailerPoster artworkFlickchartLetterboxd Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here.Follow the other podcasts in The Next Reel’s family of film podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeSitting in the DarkJoin the conversation with movie lovers from around the world in our Discord community!Here’s where you can find us around the internet:The WebLetterboxdFacebookInstagramThreadsBlueskyYouTubeFlickchartPinterestPete AndyWhat are some other ways you can support us and show your love? Glad you asked!You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.Or buy or rent movies we’ve discussed on the show from our WATCH PAGE.Or buy books, plays, etc. that was the source for movies we’ve discussed on the show from our ORIGINALS PAGE.Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.Or sign up for AUDIBLE.

“That king certainly hasn’t very good manners.”The Less-Singing, More Burnings VersionAudiences have been fascinated with the life of Anna Leonowens and her time spent in Thailand (then Siam) teaching English to King Mongkut’s wives and children. What’s the draw though? Perhaps the story of a woman on her own in a foreign country? Or a common person who is swept up into a world of royalty and has the ear of a king. Hard to say, but it’s a fascinating story, even if it does feel one-sided. Join us – Pete Wright and Andy Nelson – as we kick off our 1947 Academy Award Best Writing, Screenplay nominee series with a conversation about John Cromwell’s 1946 film Anna and the King of Siam.Here’s a hint at what we talk about.The first hurdle with this film is the rough brownface that all the actors playing the people of Siam wear. Yes, it’s from the era – we acknowledge that. That doesn’t make it any easier to take. There are also all the other trappings that go along with this element – pidgin English, playing the characters as simpler people, etc. It’s frustrating. Once you can get past that, there are still the story elements dealing with colonialism and the entire idea of a white woman (savior?) coming in to teach English to the children and wives of King Mongkut along with the British way so they can all act more civilized. It’s a struggle, but at the same time, teachers teach. She’s just doing her job, right? Past all the struggles, there is the core of the story involving the complex relationship between Anna and King Mongkut. Irene Dunne and Rex Harrison are great in their roles, and we enjoy the back and forth that we get with them as they initially try to figure each other out and test each other, pushing boundaries, then eventually becoming trusted friends. We discuss the other players, the story and how this iteration differs from other versions, how Cromwell directed it, the look of it, and more. There’s a lot to discuss with this one. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchScript OptionsFlickers In Time’s review Theatrical trailerPoster artworkFlickchartLetterboxd Learn how to support our show and The Next Reel’s family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here.Follow the other podcasts in The Next Reel’s family of film podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeSitting in the DarkJoin the conversation with movie lovers from around the world in our Discord community!Here’s where you can find us around the internet:The WebLetterboxdFacebookInstagramThreadsBlueskyYouTubeFlickchartPinterestPete AndyWhat are some other ways you can support us and show your love? Glad you asked!You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.Or buy or rent movies we’ve discussed on the show from our WATCH PAGE.Or buy books, plays, etc. that was the source for movies we’ve discussed on the show from our ORIGINALS PAGE.Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.Or sign up for AUDIBLE.