The Next Reel Film Podcast

When Mike Nichols and Elaine May teamed up again for the first time in over thirty years, it was to adapt Francis Veber's most famous and celebrated works, the 1978 film La Cage aux Folles. Veber's films had been remade in English before — in fact, he'd directed a number of them — but this one was the big one so it needed to be big. But would it work with an American audience in the 90s? Join us — Pete Wright and Andy Nelson — as we continue our Francis Veber and his remakes series with Nichols' 1996 film The Birdcage. We talk about the nature of comedy films and the experience of seeing them in theatres versus home alone, and how this one holds up when watched with an audience of one. We look at the transition from Saint-Tropez to Miami and why it works, especially with Bob Dole's moral majority. We chat about our struggles with Dan Futterman's character (and Futterman himself) and why he feels so much more selfish in this film than in the original – and what that does to the story. We praise Robin Williams, Nathan Lane, Gene Hackman, Dianne Wiest, Hank Azaria, and Christine Baranski effusively, and compare the writing by May and direction by Nichols for these characters as compared to Futterman and Calista Flockhart. And we chat about Stephen Sondheim and old songs of his repurposed for this film. It's a fun romp of a film that holds up about as well as the original. We have a great time talking about it on this week's show, 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 SundriesThank you for supporting The Next Reel Film Podcast on Patreon!Watch this film: iTunes • Amazon • YouTubeScript TranscriptOriginal theatrical trailerOriginal poster artworkFlickchartLetterboxd Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

When asked to adapt the hit stage show "La Cage Aux Folles" to the big screen, director Édouard Molinaro knew he had to get comedy writer/director Francis Veber involved to not only get the story out of the one-set show and open up the world, but also — and more importantly — to flesh out the core relationship so the film wasn't just all stereotypes. Veber did his work, and with Molinaro's direction, became a huge hit in France. Join us – Pete Wright and Andy Nelson – as we kick off a short series looking at French writer/director Francis Veber and his remakes, starting with Molinaro's 1978 comedy La Cage Aux Folles. We talk about the tone of the film – a broad, farcical comedy – and debate how the caricatures and stereotypes play throughout. Are they too much? Are they okay? We ponder the difficulties for Molinaro of dealing with actors Ugo Tognazzi and Michel Serrault and how they made getting the film made that much more difficult. We discuss the relationship the film has to the period in which it was made as well as the location in which it's set – Saint-Tropez – and how not knowing the connections may affect ones viewing. And we chat about some of the people behind the technical aspects, including composer Ennio Morricone.It's a fun film that works because of the small, honest moments and we have a great time talking about it on this week's show. 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 SundriesThank you for supporting The Next Reel Film Podcast on Patreon!Watch this film: iTunes • Amazon • YouTubeOriginal theatrical trailerOriginal poster artworkLa Cage Aux Folles by Jean PoiretFlickchartLetterboxd Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

When Agnieszka Holland described her film Spoor at the New York Film Festival, she said it was, "an anarchistic, feminist, ecological crime story with elements of black comedy and magic realism." That statement, paired with comments from a correspondent at Poland's state media outlet, calling the film "a pagan film promoting ecoterrorism," speaks exactly to what likely drew Holland to the original source material. It's not a story that is easily definable by Hollywood's genre boxes. But how well does that work in telling a film and trying to find distribution? Join us – Pete Wright and Andy Nelson – as we wrap up our series on director Agnieszka Holland with her 2017 film she co-directed with her daughter Kasia Adamik, Spoor. We talk about our struggles with the film but also why it worked for us largely. We look at the nature of the story and the views Holland is pushing in society, like young vs. old, man vs. nature, and more. We debate the ending and its magic realism feel, even with a plot device to get us there that's frustrating. We chat about animal violence in film, how we feel about it, and how they accomplished it here. We look at the gorgeous cinematography and score and how well they work here. And we touch on the brilliant performance of Agnieszka Mandat in the lead role, paired with Wiktor Zborowski and Miroslav Krobot, and how much we love what these older actors bring to the story. It's a film that likely will be a challenge for a lot of people, but one that works for us, despite some frustrations. 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 SundriesWatch this film: AmazonOriginal theatrical trailerOriginal poster artworkDrive Your Plow Over the Bones of the Dead by by Olga TokarczukFlickchartLetterboxd Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

For Agnieszka Holland's third and final (she says) film about the Holocaust, she landed on a unique story that has shades of others before and after detailing gentiles saving Jews, but that's set in a very unique location – the sewers below the city. That meant a lot of dark scenes, but Holland didn't shy away from them. She worked with Jolanta Dylewska, her cinematographer, and together, they created a beautifully dark palette that feels authentic and not like The Third Man. Join us – Pete Wright and Andy Nelson – as we continue our Agnieszka Holland series with her 2011 film In Darkness. We discuss the nature of Holocaust films and the nature of criticism when looking at stories that are so authentically real and horrible, but are also films. We look at the brilliant lead performance by Robert Wieckiewicz and why he works so well in the film. We chat about the nature of characters in this film and why Holland works so hard to allow her characters to challenge us with their flaws. And we discuss the design of the dark sewer locations, filming in them, and how to write music that works for the film. It's a powerful film, albeit a tough one, that has its issues but still works effectively. We have a great time talking about it, so check it out then tune in to this week's show! 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 SundriesThank you for supporting The Next Reel Film Podcast on Patreon!Watch this film: iTunes • Amazon • [Netflix][netflix] • [Hulu][hulu] • YouTubeScript TranscriptOriginal theatrical trailerOriginal poster artworkIn Light: The True Story of the Girl who Spent Her Childhood In Darkness by Agnieszka HollandFlickchartLetterboxd Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

When Agnieszka Holland was given early pages from Solomon Perel's unfinished memoirs about surviving the Holocaust, she was immediately taken by it. The fact that it was about a young Jewish boy who stayed alive by hiding out as one of the Hitler Youth among other things was fascinating to her, but it was his lack of embellishing and complete honesty that drew her in. Thus began her journey in making a film based on his experiences. Join us – Pete Wright and Andy Nelson – as we kick off a series about the works of Agnieszka Holland with her 1990 film Europa Europa. We talk about how the nature of this story and how it's done very much in a Pilgrim's Progress style, and why it works for this coming of age story. We chat about Holland adapting the story to not just focus on the tragic but also be playful. And we look at reactions and why some people may have had issues with the telling of this story.It's a powerful, wonderful story and we have a great time chatting about it on this week's show. Check it out and 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 SundriesThank you for supporting The Next Reel Film Podcast on Patreon!Watch this film: Amazon • CriterionScript TranscriptOriginal theatrical trailerOriginal poster artworkEuropa Europa: A Memoir of World War II by Solomon PerelFlickchartLetterboxd Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

Many consider the 1979 mini-series adaptation of John le Carré's "Tinker Tailor Soldier Spy" to be not only the definitive le Carré adaptation but also that Alec Guinness to be the definitive George Smiley. Because of that, tackling the story again can be seen as a tricky task. Luckily, the team behind the film adaptation in 2011 found the right people to adapt the script, the right director to helm it, and the perfect actor to fill Guinness' shoes. Join us – Pete Wright and Andy Nelson – as we wrap up our John le Carré series with Tomas Alfredson's 2011 film Tinker Tailor Soldier Spy. We talk about why Gary Oldman works so well in this part and how quiet his performance is. We look at the way the story is crafted and compare it to last week's film, looking at why this adaptation works and that one doesn't. And we look at the style Alfredson brought to the film. It's a great film and one we have a great time chatting about. Check it out then tune in to this week's show! 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 SundriesWatch this film: iTunes • Amazon • Netflix • YouTubeScript TranscriptOriginal theatrical trailerOriginal poster artworkTinker, Tailer, Soldier, Spy: A George Smiley Novel by John le CarréFlickchartLetterboxd Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

John le Carré's book "The Little Drummer Girl" was somewhat controversial as it managed to offend both the Israelis and the Palestinians in its depiction of its terrorism story. Controversy, however, can often be seen as a moneymaker, at least that's what the team at Warner Bros. must've thought when they set to work right away of optioning the book, adapting it, and having George Roy Hill direct it. Unfortunately, Hill didn't seem to be the right guy for the job as the film ended up fairly flat. Then again, maybe it was the fact that they cast a nearly-40 Diane Keaton to play a role written for an early 20s actress. Or maybe the script was a bit too streamlined? Join us – Pete Wright and Andy Nelson – as we continue our John le Carré series with Hills' 1984 adaptation The Little Drummer Girl. We talk about where the problems were for us in this adaptation – the direction? acting? script? – and how it stacks up against the more recent miniseries adaptation. We look at the nature of the story and why it may not have worked well at the time. We look at Keaton and debate some other possible actresses who would have fit the role better than she. And we chat about Dave Grusin's score, which sadly didn't work for us. It's a sloppy telling of this story – one which is told much better – but it's still interesting to visit. Check it out then tune in to this week's show as we have a great conversation about it. 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 SundriesWatch this film: iTunes • Amazon • YouTubeOriginal theatrical trailerOriginal poster artworkThe Little Drummer Girl by John le CarréFlickchartLetterboxd Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

When John le Carré wrote his third novel "The Spy Who Came in From the Cold," it was such a success and brought him so much acclaim that it essentially outed him as a spy for MI6. He'd been doing it for only five years, but in that time, he learned a great deal about how the machine worked (or the 'circus' as he calls it in his books) and was able to bring that world to life with greater accuracy than had been seen before. Because of that, it was inevitable that the story would be adapted to film, and true enough, two years after it was published, the film was released. Join us – Pete Wright and Andy Nelson – as we kick off a new series looking at adaptations of John le Carré's novels with Martin Ritt's 1965 The Spy Who Came in From the Cold. We talk about the tone of the story and the various themes presented here about loyalty, alienation, ideologies vs. morality. We chat about some of the performances, like Richard Burton, Claire Bloom, Oskar Werner and Peter van Eyck, and what they bring to the table. We look at Oswald Morris's cinematography, the long shots, and what the black-and-white brings to it. And we dig into the nature of a bleak ending as depicted here and what it does to the film (and to Pete!).It's a wonderful film and a great entry to this series. 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 SundriesThank you for supporting The Next Reel Film Podcast on Patreon!Watch this film: iTunes • Amazon • Netflix • YouTubeScript TranscriptOriginal theatrical trailerOriginal poster artworkThe Spy Who Came in from the Cold: A George Smiley Novel Book 3 by John le CarréFlickchartLetterboxd Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

Ron Stallworth's story seems ridiculous and unbelievable, but it's true – as an African American undercover cop with the Colorado Springs Police Department, Ron infiltrated the local KKK group with one of his fellow detectives and managed to bring them down. It's the sort of story that Spike Lee seems perfect for, so who better to direct it than Lee himself? Join us – Pete Wright and Andy Nelson – as we wrap up our brief Spike Lee series with his 2018 film BlacKkKlansman. We talk about Lee's messaging in this biopic and if and how it works. We look at the bookends of the film and discuss how they fit and if we feel they work. We chat about the comedic tone throughout the film and why it works. We examine the intercutting done in some key sequences and why it works so effectively. We touch on the actors and what they're bringing to the table. And we close up our series by digging into Lee's works discussed on the show and why he's such an important filmmaker. We have a great time talking about this movie. It's a film that's incredibly relevant and will likely be as relevant decades from now as it is today. We have a great conversation about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins.Film SundriesThank you for supporting The Next Reel Film Podcast on Patreon!Watch this film: iTunes • Amazon • Netflix • YouTubeScript TranscriptOriginal theatrical trailerOriginal poster artworkBlack Klansman: Race, Hate, and the Undercover Investigation of a Lifetime by Ron StallworthFlickchartLetterboxd Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

“Everybody wants to be black.”By the time year 2000 rolled around, Spike Lee had made 13 feature films (if you count his 60-minute student film Joe’s Bed-Stuy Barbershop: We Cut Heads as a feature) and had been celebrated, denigrated, disparaged, praised, and sometimes ignored. Regardless of the reactions, Lee showed himself to be a straight-up artist – always pushing to make noise with his cinematic art, whether people ended up listening or not. And then along comes his 2000 film Bamboozled, a film that examines black culture as depicted in media and art that is as much a satire on media and entertainment as it is a look at the history of African Americans in art. With this film, Lee seems to be pushing his artistic bounds, even if he seems to be moving away from telling a cinematic story that’s going to earn its money back. But it’s art, and Lee is an artist, proving once again that he’s a master of his craft. Join us – Pete Wright and Andy Nelson – as we continue our Spike Lee series with his 2000 film Bamboozled.We talk about the nature of a satire like this and how well it works. We look at Lee’s perspective on these issues and society and how his influences shine in this story. We chat about the many elements within society Lee addresses in this film and how effective his storytelling is. We look at the performances, notably the biggest one of them all – Damon Wayans as Pierre Delacroix – and what they’re bringing to the table. We chat about the cameras used to film the story and what Lee was perhaps intending with the different formats. And we talk about the pain we feel in the blackface application scenes and how difficult it was emotionally for the actors to put it on.It’s a powerful film that defines Lee as much as it emphasizes his position. We have a great time talking about it on this week’s show, 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 SundriesThank you for supporting The Next Reel Film Podcast on Patreon!Watch this film: Criterion • AmazonScript TranscriptOriginal theatrical trailerOriginal poster artworkFlickchartLetterboxd Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible