Dial M for Murder / 1792 Full Proof (ft. Daniel Joyaux)

1
00:00:00,400 --> 00:00:04,640
In 1954, director Alfred
Hitchcock and star Grace Kelly

2
00:00:04,640 --> 00:00:07,680
gave the world an ingenious
crime thriller that kept you at

3
00:00:07,680 --> 00:00:12,600
the edge of your seat till the
final second in. 2023 We finish

4
00:00:12,600 --> 00:00:15,280
out a flight of up and down
bourbons.

5
00:00:15,840 --> 00:00:21,480
The film is Dial M for Murder.
The whiskey is 1792 foolproof,

6
00:00:22,320 --> 00:00:25,600
and we'll review them both.
This is the.

7
00:00:25,600 --> 00:00:46,960
Film and Whiskey Podcast.
Welcome to the Film and Whiskey

8
00:00:46,960 --> 00:00:49,800
Podcast, where each week we
review a classic movie and a

9
00:00:49,800 --> 00:00:51,400
glass of whiskey.
I'm Bob.

10
00:00:51,400 --> 00:00:53,040
Book.
I'm Brad G.

11
00:00:53,440 --> 00:00:56,720
And this week we are finishing
up Season 7.

12
00:00:56,840 --> 00:01:00,440
Brad wrapping it up, baby.
Man, it's been a long season,

13
00:01:00,440 --> 00:01:03,120
hasn't it?
Yeah, it's interesting.

14
00:01:03,120 --> 00:01:07,280
I've really enjoyed these two
seasons of, you know, director

15
00:01:07,280 --> 00:01:10,440
miniseries.
But it feels like it kind of

16
00:01:10,440 --> 00:01:15,840
drags certain segments of the
season along, right?

17
00:01:15,840 --> 00:01:18,560
Like there's a certain director
that you're not quite as hot on,

18
00:01:18,560 --> 00:01:20,760
like Kurosawa.
It felt like it took a while.

19
00:01:21,720 --> 00:01:23,600
Hitchcock felt like he's gone on
for a while.

20
00:01:23,600 --> 00:01:25,920
It's really just the ones that
you pick 5 movies for Bob.

21
00:01:26,040 --> 00:01:28,800
Well, you know, I it's I pick 5
movies for the ones that are

22
00:01:28,800 --> 00:01:31,480
like universally beloved as the
best directors ever.

23
00:01:31,640 --> 00:01:34,760
And I'm like, surely these five
films will go over great with

24
00:01:34,760 --> 00:01:38,000
Brad and then they never do.
So yeah, I mean that's, I would

25
00:01:38,000 --> 00:01:40,560
say that I I stand with the
common man.

26
00:01:40,920 --> 00:01:43,840
We'll say that for now, but
we're finishing out season seven

27
00:01:44,160 --> 00:01:48,680
with Dial M for Murder.
A film that you know, I believe

28
00:01:48,680 --> 00:01:52,920
Bosley Crowder referred to back
in the day as an absolute

29
00:01:52,920 --> 00:01:57,920
banger, Brad, that is the, you
know, hoity toity description of

30
00:01:57,920 --> 00:01:59,920
this film because that's what it
is, man.

31
00:02:00,120 --> 00:02:04,800
Like it works so well.
Bosley Crowther sounds like a

32
00:02:04,800 --> 00:02:07,560
stage name for John Cleese in
Monty Python.

33
00:02:09,400 --> 00:02:11,000
He was.
He's not a real he.

34
00:02:11,039 --> 00:02:13,680
Was not a real name.
Famous movie critic for probably

35
00:02:13,680 --> 00:02:16,320
30 years, Brad.
No, that's Roger Ebert, Bob.

36
00:02:16,880 --> 00:02:19,320
Before him, Prior to Ebert?
Really.

37
00:02:19,560 --> 00:02:21,480
Yeah, I've never heard of him.
I.

38
00:02:21,680 --> 00:02:27,440
We should clearly be about him.
Osley Crowther was the film

39
00:02:27,440 --> 00:02:32,280
critic for like the 40s, fifties
and 60s, and he walked Bob in

40
00:02:32,280 --> 00:02:35,520
the aftermath of giving Bonnie
and Clyde a scathing review.

41
00:02:36,320 --> 00:02:37,840
Bonnie and Clyde.
Oh, Yep.

42
00:02:38,160 --> 00:02:39,120
Yep.
How dare he?

43
00:02:39,760 --> 00:02:42,240
I know.
They basically said get out of

44
00:02:42,240 --> 00:02:44,480
here, old man.
And then the new film criticism

45
00:02:44,480 --> 00:02:46,520
was born.
Pauline Kael was waiting in the

46
00:02:46,520 --> 00:02:48,440
wings.
She was like, now's my time.

47
00:02:49,320 --> 00:02:51,840
All right, man, let's stop
talking about film criticism for

48
00:02:51,840 --> 00:02:54,000
now and let's actually do some
film criticism.

49
00:02:54,000 --> 00:02:57,360
And that voice you're hearing in
the back is a film critic friend

50
00:02:57,360 --> 00:03:00,000
of ours who's joining us for, I
believe, the third time.

51
00:03:00,200 --> 00:03:02,720
It's Daniel Zwyo.
Daniel, how you doing tonight,

52
00:03:02,720 --> 00:03:03,000
man?
I'm.

53
00:03:04,040 --> 00:03:04,920
Good.
How are you guys?

54
00:03:06,000 --> 00:03:08,400
Doing great.
I'm excited to talk Hitchcock.

55
00:03:09,400 --> 00:03:11,000
I was going to say we're doing
incredible, man.

56
00:03:11,000 --> 00:03:14,040
We've watched now five Hitchcock
films.

57
00:03:14,520 --> 00:03:16,480
I'm trying to think back through
all five of them.

58
00:03:16,480 --> 00:03:22,000
Bob, I feel like I was pretty
high on two, at least two, maybe

59
00:03:22,000 --> 00:03:24,320
three.
I I can't even remember what

60
00:03:24,320 --> 00:03:26,600
movies we watched.
So let's see.

61
00:03:26,600 --> 00:03:29,760
I thought you would be really
high last week on the 39 Steps

62
00:03:29,760 --> 00:03:33,600
and you were not.
We did rope.

63
00:03:33,720 --> 00:03:35,640
That's one of my favourites.
You were going to be met.

64
00:03:35,800 --> 00:03:37,320
Like rope.
Yeah, yeah.

65
00:03:38,040 --> 00:03:39,160
What else?
What else did we do?

66
00:03:40,280 --> 00:03:43,040
Oh Notorious.
We were both not huge fans of

67
00:03:43,040 --> 00:03:45,120
Notorious.
Notorious.

68
00:03:45,880 --> 00:03:47,120
Yeah.
So it's been up and down on

69
00:03:47,120 --> 00:03:49,320
Hitchcock.
Truly, Here's the Here's the

70
00:03:49,320 --> 00:03:53,720
deal, though.
Dial M for murder is Dial A for

71
00:03:53,720 --> 00:03:57,800
Awesome.
Well, I think maybe we should

72
00:03:57,800 --> 00:04:00,280
talk a little bit about why that
is, because we've said it

73
00:04:00,280 --> 00:04:03,000
multiple Times Now.
But I think the most important

74
00:04:03,000 --> 00:04:05,520
thing that I need to illustrate
to the film and Whiskey listener

75
00:04:05,520 --> 00:04:09,800
right now is.
I am joined today by two people

76
00:04:09,800 --> 00:04:12,240
who watched this film for the
first time.

77
00:04:13,240 --> 00:04:16,000
I'm absolutely shocked to hear
that Daniel had not seen this

78
00:04:16,000 --> 00:04:17,880
movie before.
Brad, it's like a given.

79
00:04:17,880 --> 00:04:20,160
But Daniel I was.
I was shocked.

80
00:04:21,040 --> 00:04:25,560
Join me in my shame, Daniel.
Fill us in a little bit, man.

81
00:04:25,560 --> 00:04:26,440
Like what?
What?

82
00:04:26,440 --> 00:04:28,200
What made this?
BE I'm a bad Hitchcock viewer

83
00:04:28,200 --> 00:04:30,600
because I've seen Vertigo and
Psycho and North by Northwest

84
00:04:30,600 --> 00:04:34,200
and Rear Window and N Notorious
all half a dozen times each, but

85
00:04:34,200 --> 00:04:36,040
I haven't done a deep dive on
his filmography.

86
00:04:36,520 --> 00:04:39,120
I mean, I feel like if you go 5
films deep, you're doing pretty

87
00:04:39,120 --> 00:04:41,200
good.
But like, you know, Brad and I

88
00:04:41,200 --> 00:04:43,680
had already done the four major
ones.

89
00:04:43,680 --> 00:04:47,120
And so we're coming back here
with Movies 5 through 9 right

90
00:04:47,120 --> 00:04:49,240
now just to kind of round things
out a little bit.

91
00:04:49,840 --> 00:04:54,400
Well, I have the famous
Hitchcock Trefo book and Trefo

92
00:04:54,400 --> 00:04:58,520
said in his introduction, Alfred
Hitchcock made 53 films and one

93
00:04:58,520 --> 00:05:01,160
daughter.
So but 53 films?

94
00:05:01,160 --> 00:05:03,640
I feel like I've got to go more
than more than the 10 deep I

95
00:05:03,640 --> 00:05:06,080
have.
That's a heck of a quote.

96
00:05:08,520 --> 00:05:11,080
All right, guys, let's dive into
talking about the movie itself a

97
00:05:11,080 --> 00:05:13,080
little bit.
And to do that, we need to throw

98
00:05:13,080 --> 00:05:16,160
over to our first segment of the
day, which we call, Brad

99
00:05:16,160 --> 00:05:18,160
Explains.
Brad's going to give us the

100
00:05:18,200 --> 00:05:21,800
movie plots with only 60 seconds
ticking on the clock, so let's

101
00:05:21,800 --> 00:05:25,080
go ahead and hear your take with
this little segment that we

102
00:05:25,080 --> 00:05:26,280
call.
Brad explains.

103
00:05:26,880 --> 00:05:29,920
Brad Explains is the part of the
podcast where Brad breaks down

104
00:05:29,920 --> 00:05:33,280
the plot of the film that he has
just seen, often for the first

105
00:05:33,280 --> 00:05:34,640
time.
We've established this.

106
00:05:34,760 --> 00:05:38,200
It is Brad's first time with
Dial M for Murder.

107
00:05:38,960 --> 00:05:41,240
Brad, I am so excited to hear
you talk about this movie

108
00:05:41,240 --> 00:05:45,000
because I feel like it's kind of
a spoiler proof film.

109
00:05:45,400 --> 00:05:49,560
Like there's not too much you
can tip your hand with here that

110
00:05:49,560 --> 00:05:52,200
Hitchcock doesn't give you in
the 1st 10 minutes of the movie.

111
00:05:52,520 --> 00:05:53,640
I'm trying to think what would I
mean.

112
00:05:53,640 --> 00:05:57,120
The spoilers would be like what
happens at the end of the film.

113
00:05:57,960 --> 00:06:00,600
That's that's true as as most
spoilers.

114
00:06:00,800 --> 00:06:03,360
But it's not really a mystery.
Like who did it?

115
00:06:03,520 --> 00:06:06,520
You know?
Yeah, yeah, no, it I I think

116
00:06:06,520 --> 00:06:09,000
that's what I love about
Hitchcock in general is that he

117
00:06:09,000 --> 00:06:11,040
often doesn't really care who
done it.

118
00:06:11,560 --> 00:06:16,920
He really is interested in how
done it and and like is and and

119
00:06:16,920 --> 00:06:22,120
essentially the question he
always asks is will the person

120
00:06:22,120 --> 00:06:26,080
get caught like that seems to be
the driving tension in a lot of

121
00:06:26,080 --> 00:06:29,440
his films and I think he does it
probably the best.

122
00:06:30,680 --> 00:06:34,120
Not quite the best, but one of
the best ways that he's ever

123
00:06:34,120 --> 00:06:35,760
done it.
I think he does here in Dial in

124
00:06:35,760 --> 00:06:37,280
for Murder.
All right, Brad.

125
00:06:37,280 --> 00:06:40,120
Well, you have 60 seconds on the
clock to break down the plot of

126
00:06:40,120 --> 00:06:44,720
this movie, spoil the whole
thing, and go dial in.

127
00:06:44,720 --> 00:06:50,080
For Murder is a film about a
former tennis pro named Tony

128
00:06:50,080 --> 00:06:54,040
Wendis who does not like the
fact that his wife is cheating

129
00:06:54,040 --> 00:06:56,360
on him.
He gets in contact with an old

130
00:06:56,360 --> 00:06:59,960
college buddy who spent some
time in jail, convinces him to

131
00:06:59,960 --> 00:07:03,440
take on a job for £1000 to
murder his wife.

132
00:07:04,000 --> 00:07:08,920
The job goes a a bit awry when
his wife escapes the murder and

133
00:07:08,920 --> 00:07:13,480
kills his college associate.
The rest of the film is about

134
00:07:13,480 --> 00:07:19,040
Tony Wendis trying to find his
way out of getting out of

135
00:07:19,040 --> 00:07:21,840
justice and pinning the murder
on his wife.

136
00:07:22,600 --> 00:07:25,840
The Chief Inspector spends the
the rest of the film following

137
00:07:25,840 --> 00:07:31,760
his way through all the clues
and eventually nabbing Tony

138
00:07:31,760 --> 00:07:33,600
Wendis for the murder.
Boom.

139
00:07:33,600 --> 00:07:35,480
Well, not really for the murder,
for the set up, for the.

140
00:07:35,720 --> 00:07:37,920
For the attempt, yeah, for the
attempt.

141
00:07:37,960 --> 00:07:39,040
For the attempt.
Good, good try.

142
00:07:40,840 --> 00:07:42,880
All right.
Man, I think it's time that we

143
00:07:42,880 --> 00:07:46,280
dive into the film itself.
And Brad, I don't know how much

144
00:07:46,280 --> 00:07:48,640
farther we can get talking about
this.

145
00:07:49,040 --> 00:07:52,080
Without comparing it to Rope,
which we just watched a couple

146
00:07:52,080 --> 00:07:55,640
weeks ago, I think Rope is
probably the closest thing in

147
00:07:55,720 --> 00:07:59,600
Hitchcock's catalogue that I've
seen to this.

148
00:07:59,920 --> 00:08:03,920
Especially in that, like the
entire premise of the film is

149
00:08:04,160 --> 00:08:07,160
you're following the bad guy all
the way through the movie.

150
00:08:07,440 --> 00:08:11,400
Hitchcock is trying to, in some
ways, make you complicit in what

151
00:08:11,400 --> 00:08:14,760
the bad guys doing.
So that you're the suspense is

152
00:08:14,760 --> 00:08:18,760
whether or not this truly evil
person will get caught doing

153
00:08:18,920 --> 00:08:22,960
what he's doing.
And not only that, but they give

154
00:08:22,960 --> 00:08:25,960
you all the information you need
about those characters in the

155
00:08:25,960 --> 00:08:29,640
first, you know, 10-15 minutes
of the movie.

156
00:08:30,000 --> 00:08:32,840
So it really does follow a
similar path to rope.

157
00:08:33,240 --> 00:08:35,960
Not to mention they're both
adapted from stage plays.

158
00:08:35,960 --> 00:08:38,960
And I think you can kind of tell
with both of them that they have

159
00:08:38,960 --> 00:08:42,600
this very confined theatrical
kind of feel to them.

160
00:08:43,120 --> 00:08:45,120
Can I?
I, I think I can actually

161
00:08:45,120 --> 00:08:49,960
compare and contrast rope and
dial M for murder in three

162
00:08:49,960 --> 00:08:51,640
words.
Bob, are you Are you ready?

163
00:08:52,560 --> 00:08:57,400
This could go a lot of ways.
Yeah, I'm ready, Rope, but

164
00:08:57,400 --> 00:08:59,640
better.
Oh, I don't know about that,

165
00:08:59,640 --> 00:09:00,480
Man.
I loved rope.

166
00:09:02,640 --> 00:09:05,920
Rope.
Also also rope. 85 minutes long.

167
00:09:06,720 --> 00:09:10,040
That is true.
I mean, this was only, oh, what,

168
00:09:10,040 --> 00:09:12,440
an hour and 45 minutes.
Yeah, it's only like, you know,

169
00:09:12,440 --> 00:09:14,840
20 minutes longer. 105 minutes,
Bob.

170
00:09:14,840 --> 00:09:17,080
But when you've done it
economically, why?

171
00:09:17,200 --> 00:09:21,280
Why drag it out?
You know, Daniel, this was your

172
00:09:21,280 --> 00:09:24,000
first time through the film,
just like myself.

173
00:09:24,440 --> 00:09:27,960
So where are you sitting at, you
know, at the end of your first

174
00:09:27,960 --> 00:09:29,160
viewing?
Are there are there any, like

175
00:09:29,160 --> 00:09:32,320
big performances you want to
point out?

176
00:09:32,320 --> 00:09:35,320
Anything that just resonated
with your soul?

177
00:09:35,320 --> 00:09:37,360
Where are you at?
I really liked it.

178
00:09:37,360 --> 00:09:40,560
I think the only reason I can
think of that it wouldn't be

179
00:09:40,560 --> 00:09:44,280
considered one of Hitchcock's
best is that I is it the opening

180
00:09:44,280 --> 00:09:48,840
conversation the main character
has with the man he's

181
00:09:48,840 --> 00:09:52,120
contracting to kill his wife?
I think that conversation drags

182
00:09:52,120 --> 00:09:54,680
too long.
That's like a like a 10 to 15

183
00:09:54,680 --> 00:09:57,520
minute long scene right at the
opening of the movie.

184
00:09:59,640 --> 00:10:03,000
It means you don't get into it
as fast as you otherwise would,

185
00:10:03,680 --> 00:10:07,120
but probably from the minute
that scene ends at like the 20

186
00:10:07,120 --> 00:10:12,240
minute mark, the rest of the
movie is just completely intense

187
00:10:12,240 --> 00:10:13,800
and you're totally in it the
whole time.

188
00:10:14,560 --> 00:10:17,280
Well, and I'll say too, I think
even towards the back part of

189
00:10:17,280 --> 00:10:20,680
that conversation, when it
becomes clear how meticulous

190
00:10:20,680 --> 00:10:23,000
he's been in his planning, it
all kind of makes sense.

191
00:10:23,480 --> 00:10:26,480
Because he even has like a
another phone call before that

192
00:10:26,480 --> 00:10:29,680
where he's calling like his boss
or his maid or somebody to kind

193
00:10:29,680 --> 00:10:33,360
of help set up his own alibi and
you don't realize that's what

194
00:10:33,360 --> 00:10:36,000
he's doing until he reveals it
15 minutes later.

195
00:10:36,360 --> 00:10:39,360
And yeah, you're right, man, the
1st 10 minutes of this movie

196
00:10:39,720 --> 00:10:43,680
excruciatingly slow.
Like, I I'm not typically the

197
00:10:43,680 --> 00:10:46,560
guy that pulls out my phone and
checks my e-mail or whatever.

198
00:10:46,760 --> 00:10:48,440
And you know, I've seen this
movie before, so I know where

199
00:10:48,440 --> 00:10:49,240
it's going.
But.

200
00:10:49,920 --> 00:10:53,360
The 1st 10 minutes of the movie
felt completely aimless until he

201
00:10:53,360 --> 00:10:56,360
gets his friend into the
apartment and slowly starts to

202
00:10:56,360 --> 00:11:00,120
reveal I know all about you, I
know you're a con man, you're

203
00:11:00,120 --> 00:11:02,280
gonna murder my wife, and here's
why.

204
00:11:02,360 --> 00:11:06,400
And here's all the things that
I've done to clear my own name.

205
00:11:06,840 --> 00:11:09,760
And it's a really brilliant web
that he weaves.

206
00:11:09,760 --> 00:11:11,800
And that's really, really great
writing too.

207
00:11:12,080 --> 00:11:15,680
But again, it's like you have to
have that kind of really long

208
00:11:15,680 --> 00:11:18,720
stretched out introduction to
give you that pay off.

209
00:11:19,200 --> 00:11:21,400
But I think it's really high
risk, high reward, Brad.

210
00:11:22,120 --> 00:11:27,880
Just like the murder he commits.
Yeah, I I'm with you guys.

211
00:11:27,880 --> 00:11:32,640
The opening scene before the
accomplices brought into the

212
00:11:32,640 --> 00:11:36,080
apartment where Grace Kelly is
like making out with her

213
00:11:36,080 --> 00:11:40,360
American lover and it it was
just confusing for a little

214
00:11:40,360 --> 00:11:42,760
while I I wasn't quite sure what
was going on.

215
00:11:43,240 --> 00:11:46,880
And then the, you know, Tony
comes in and, you know, gets rid

216
00:11:46,880 --> 00:11:50,360
of his wife and then he gets his
friend to come over and I'm

217
00:11:50,360 --> 00:11:52,240
like, what in the world is
happening?

218
00:11:52,240 --> 00:11:57,080
And like you guys said, as soon
as he makes it clear without

219
00:11:57,080 --> 00:12:00,360
saying it, I'm going to ask you
to murder my wife.

220
00:12:00,760 --> 00:12:04,960
From that moment till the end of
the film, I am at the edge of my

221
00:12:04,960 --> 00:12:08,160
seat.
So as long as we're all in

222
00:12:08,160 --> 00:12:11,920
agreement, we can put away the
1st 12, you know, 16 minutes of

223
00:12:11,920 --> 00:12:15,200
this film and just talk about
the rest of it now, because the

224
00:12:15,200 --> 00:12:18,480
rest of it is incredible.
Yeah.

225
00:12:18,480 --> 00:12:20,920
And something I really want to
stress is I think it's the third

226
00:12:20,920 --> 00:12:24,680
scene in the movie where after
he's so the main character's

227
00:12:24,680 --> 00:12:28,720
name is Tony.
After Tony has, you know, told

228
00:12:28,720 --> 00:12:31,600
his friend the plot, now it's
getting ready to be put into

229
00:12:31,600 --> 00:12:35,320
action.
And what it depends on is Tony

230
00:12:35,320 --> 00:12:39,320
and Mark going out to a club for
the evening while Margot, played

231
00:12:39,320 --> 00:12:42,200
by Grace Kelly, stays at home.
And right as they're getting

232
00:12:42,200 --> 00:12:44,960
ready to leave, Margot is
saying, oh, she'll go out and go

233
00:12:44,960 --> 00:12:48,760
to the movie too.
And that moment is so intense as

234
00:12:48,760 --> 00:12:51,720
you watch Tony's face drop in,
trying to figure out anything he

235
00:12:51,720 --> 00:12:54,120
can do to get Margot to stay in
the apartment.

236
00:12:54,120 --> 00:12:56,160
He keeps offering her
suggestions about, oh, what

237
00:12:56,160 --> 00:12:58,120
about this thing you meant to do
and this thing you meant to do?

238
00:12:58,640 --> 00:13:01,520
And the Hitchcock moves the
camera around the room as you

239
00:13:01,520 --> 00:13:05,400
watch sort of each object Tony
brings up as an idea to get her

240
00:13:05,400 --> 00:13:08,000
to stay.
And the placement of the keys.

241
00:13:08,160 --> 00:13:11,240
And Oh no, someone's standing in
the wrong place for a key to be

242
00:13:11,240 --> 00:13:12,600
put there.
And now they're scissors.

243
00:13:12,600 --> 00:13:16,520
And that whole scene is just so
dynamically staged and the

244
00:13:16,520 --> 00:13:19,960
moment where he gaslights her
and just it completely is like,

245
00:13:19,960 --> 00:13:23,560
well, you know, I'm, I'm not
going to go out if if you don't

246
00:13:23,560 --> 00:13:26,480
want me to go out, you clearly
don't want me to go and and I'm

247
00:13:26,480 --> 00:13:29,040
just like, oh snap, bro.
It's great.

248
00:13:29,120 --> 00:13:33,240
It's just it's really great.
So well written and Ray, I'm

249
00:13:33,240 --> 00:13:35,480
guessing Miland.
Miland is that it?

250
00:13:35,560 --> 00:13:39,720
Miland.
Ray Miland is terrifying in this

251
00:13:39,720 --> 00:13:43,480
movie.
He he plays everybody else in

252
00:13:43,480 --> 00:13:48,040
the film like a freaking fiddle.
Like from that scene to the way

253
00:13:48,040 --> 00:13:51,880
he interacts with the police.
I He just does a masterful job

254
00:13:51,880 --> 00:13:53,520
here.
Well, that was what I was going

255
00:13:53,520 --> 00:13:55,800
to say.
We can't go any further in this

256
00:13:55,800 --> 00:13:58,560
conversation without talking
about Ray Meland and the the

257
00:13:58,560 --> 00:14:00,120
note that I took on his
performance.

258
00:14:00,120 --> 00:14:03,280
Brad is just this is one of the
all time great Hitchcock

259
00:14:03,280 --> 00:14:05,600
performances.
You know, Hitchcock initially

260
00:14:05,600 --> 00:14:08,720
wanted Cary Grant for this role.
Warner Brothers said they didn't

261
00:14:08,720 --> 00:14:11,720
buy him as a villain, which is
really funny because I mentioned

262
00:14:11,720 --> 00:14:14,040
a couple weeks ago, this is the
same thing that Hitchcock went

263
00:14:14,040 --> 00:14:17,240
through in the early 40s with
the movie Suspicion and also

264
00:14:17,240 --> 00:14:19,400
with Notorious, like they're
playing on that a little bit in

265
00:14:19,400 --> 00:14:21,800
the early going.
So they wouldn't do Cary Grant.

266
00:14:21,800 --> 00:14:25,640
They hired Ray Meland instead.
We have never done a Ray Meland

267
00:14:25,640 --> 00:14:28,760
movie on this podcast.
When we were doing our Billy

268
00:14:28,760 --> 00:14:30,840
Wilder series.
Brad, I told you about a movie

269
00:14:30,840 --> 00:14:32,560
Wilder made called The Lost
Weekend.

270
00:14:33,120 --> 00:14:34,960
And Ray Meland is the star of
that movie.

271
00:14:34,960 --> 00:14:38,200
He won an Oscar for it.
He's a great actor and I feel

272
00:14:38,200 --> 00:14:41,040
like he's kind of become lost to
time a little bit because

273
00:14:41,040 --> 00:14:44,240
especially in the last half of
his career and he was just

274
00:14:44,240 --> 00:14:46,120
taking whatever paycheck he
could.

275
00:14:46,120 --> 00:14:48,800
He was making a lot of like
really low budget schlocky

276
00:14:48,800 --> 00:14:51,800
horror movies.
But when you go back and watch

277
00:14:51,800 --> 00:14:55,440
some of his great performances,
I mean he knocks it out of the

278
00:14:55,440 --> 00:14:58,120
park in this movie.
And I don't know that I've ever

279
00:14:58,120 --> 00:15:00,240
seen him in anything.
IMDb says.

280
00:15:00,240 --> 00:15:02,920
He was in Battlestar Galactic,
which I was I saw once as a kid.

281
00:15:03,960 --> 00:15:06,040
Beyond that, I'm not sure if
I've ever seen him before.

282
00:15:06,040 --> 00:15:08,400
And I know he won Best Actor for
the last weekend, which I've

283
00:15:08,400 --> 00:15:11,000
never seen.
I was going to say I I was

284
00:15:11,000 --> 00:15:14,440
looking through his filmography
and I saw The Sea Serpent in the

285
00:15:14,440 --> 00:15:18,920
80s, which has a 3.6 on IMDb
Classic film.

286
00:15:18,920 --> 00:15:20,360
We'll be reviewing that next
season.

287
00:15:20,360 --> 00:15:22,880
I was going to say, is that your
let's make it a double pick for

288
00:15:22,880 --> 00:15:28,240
today, Obviously.
I think what makes him so

289
00:15:28,240 --> 00:15:32,880
menacing and so terrifying is
not the moments where he has

290
00:15:32,880 --> 00:15:36,680
everything planned out like like
those established that there's a

291
00:15:36,680 --> 00:15:40,440
level of genius here that you
wouldn't necessarily expect from

292
00:15:40,440 --> 00:15:44,960
a former, you know, tennis star.
It's the moments where things go

293
00:15:44,960 --> 00:15:51,000
wrong, and he almost always has
the perfect on the spot ad

294
00:15:51,000 --> 00:15:55,960
libbed answer to to twist things
his way.

295
00:15:56,200 --> 00:15:59,680
I think that's what makes him
such a terrifying villain in

296
00:15:59,680 --> 00:16:01,480
this movie.
I totally agree.

297
00:16:01,480 --> 00:16:03,880
And I was going to say more or
less the same thing, that that

298
00:16:03,880 --> 00:16:07,760
they're probably four or five
times the movie where one of the

299
00:16:07,760 --> 00:16:10,400
other characters will ask him a
question that we as the audience

300
00:16:10,400 --> 00:16:13,160
know he doesn't have a good
answer to, and then suddenly he

301
00:16:13,160 --> 00:16:14,360
just produced with a good
answer.

302
00:16:16,000 --> 00:16:18,360
Yeah, I mean, he's, he's truly
slippery.

303
00:16:18,480 --> 00:16:21,520
And I wouldn't call him slimy
like some of the other villains

304
00:16:21,520 --> 00:16:23,680
we've had in this Hitchcock
miniseries, Brad.

305
00:16:24,120 --> 00:16:27,640
But what is so great about Ray
Mullan too, is that he's not

306
00:16:27,640 --> 00:16:31,080
Cary Grant.
Like, in terms of his looks, he

307
00:16:31,080 --> 00:16:35,200
looks like a guy who does, you
know, who can put on airs and

308
00:16:35,200 --> 00:16:38,120
pretend to be wealthy.
But there's something that rings

309
00:16:38,120 --> 00:16:40,640
me just he's British.
I I think that's a prerequisite

310
00:16:40,720 --> 00:16:43,960
of being British.
There's something that rings

311
00:16:43,960 --> 00:16:48,360
just slightly false about it,
like he can fool most people,

312
00:16:48,680 --> 00:16:52,480
but as the audience you're like
he he's not quite fooling me and

313
00:16:52,480 --> 00:16:54,440
it's probably because he
straight up told me he wants to

314
00:16:54,440 --> 00:16:57,400
kill his wife.
But I I think being able to walk

315
00:16:57,400 --> 00:17:01,480
that line between, yes, he's
dapper like Cary Grant, but

316
00:17:01,480 --> 00:17:04,440
there's an element to him that I
don't trust and it's something

317
00:17:04,440 --> 00:17:07,800
about his look too.
I think it's a really brilliant

318
00:17:07,800 --> 00:17:10,880
stroke of of casting here by
Hitchcock, Yeah.

319
00:17:10,880 --> 00:17:15,800
I mean he has that vibe of a
former athlete who's let himself

320
00:17:15,800 --> 00:17:20,000
go just a little bit but still
thinks that he controls the

321
00:17:20,000 --> 00:17:24,119
world around him.
And and the way he goes about

322
00:17:24,119 --> 00:17:27,760
controlling the world through
manipulation, through lies,

323
00:17:27,760 --> 00:17:33,320
through coercion just sets him
up as like you said, Bob, I'd

324
00:17:33,360 --> 00:17:35,760
I'd say not just one of the
greatest Hitchcock characters of

325
00:17:35,760 --> 00:17:38,560
all time, but like, I'd
probably, I'd probably think

326
00:17:38,560 --> 00:17:40,480
about him on a like a top ten
villain list.

327
00:17:40,600 --> 00:17:42,800
Oh yeah.
It's A and it's such a meaty

328
00:17:42,960 --> 00:17:46,880
role for a villain too because
you know from the get go that he

329
00:17:46,880 --> 00:17:49,440
is the villain.
It's not some twist ending where

330
00:17:49,440 --> 00:17:52,360
you find out at the very last
moment, Oh my gosh, he did try

331
00:17:52,360 --> 00:17:54,840
to kill his wife the whole time.
It's like, no, we're going to

332
00:17:54,840 --> 00:17:57,920
lay it all out there and you are
going to watch how slimy this

333
00:17:57,920 --> 00:18:01,760
guy can be and at the same time,
it's not a whodunit.

334
00:18:02,320 --> 00:18:05,600
It's it's a will.
Will he get away with it?

335
00:18:05,720 --> 00:18:09,360
Will he done it?
So I'm curious, do you guys know

336
00:18:09,360 --> 00:18:11,440
that this that there was a
remake of this movie from the

337
00:18:11,440 --> 00:18:12,600
90s?
Yes.

338
00:18:12,600 --> 00:18:17,400
So this movie was remade first
as ATV movie, as Dial M for

339
00:18:17,400 --> 00:18:20,600
Murder, and then as a theatrical
movie in the late 90s called A

340
00:18:20,600 --> 00:18:24,120
Perfect Murder, starring Michael
Douglas and Gwyneth Paltrow and

341
00:18:24,120 --> 00:18:27,240
Viggo Mortensen.
And it is currently streaming

342
00:18:27,240 --> 00:18:29,840
on.
Tubi and your boy tried to get

343
00:18:29,840 --> 00:18:32,280
the whole thing washed before we
press record and I got only

344
00:18:32,280 --> 00:18:34,160
halfway through.
It's not bad.

345
00:18:35,160 --> 00:18:37,280
And it's directed by the guy
that made The Fugitive.

346
00:18:37,280 --> 00:18:41,960
Like, it's a pretty good movie.
It's also the Made Under Siege.

347
00:18:42,480 --> 00:18:44,960
Yes, right.
That's what we need.

348
00:18:44,960 --> 00:18:48,120
Is Segal in in this movie?
That's what it's missing.

349
00:18:49,880 --> 00:18:52,960
I saw A Perfect Murder in
theaters in 1997, and I remember

350
00:18:52,960 --> 00:18:54,880
really liking, and that was
before I even, you know, knew

351
00:18:54,880 --> 00:18:57,240
much about Hitchcock.
But I haven't seen it again

352
00:18:57,240 --> 00:18:59,120
since then, so I don't know if
it holds up.

353
00:18:59,960 --> 00:19:03,040
I I feel like there's a there's
a great analogue for this.

354
00:19:03,880 --> 00:19:05,680
Bob.
You and I watched Charade a few

355
00:19:05,680 --> 00:19:09,000
seasons ago, one of my favorite
movies all, all time.

356
00:19:09,000 --> 00:19:15,600
There's like a 2002 or Three
remake called.

357
00:19:15,680 --> 00:19:21,840
The Truth about Charlie and
Charlie and Charlie's No Tandy.

358
00:19:21,840 --> 00:19:23,120
Tandy Newton.
Yep, Yep.

359
00:19:23,400 --> 00:19:27,360
Plays, plays the the female lead
and and once again it's like one

360
00:19:27,360 --> 00:19:29,160
of those movies I saw when I was
young, I was like oh, I really

361
00:19:29,160 --> 00:19:31,440
like that.
But I'm sure if I went back now,

362
00:19:32,160 --> 00:19:34,960
it might not hold up as well.
There was a whole sub genre of

363
00:19:34,960 --> 00:19:38,920
movies in the late 90s and early
2000s where it was like let's

364
00:19:38,920 --> 00:19:43,640
make a 6.5 out of 10 version of
a movie that was really good.

365
00:19:43,800 --> 00:19:45,960
Like they did it with The Thomas
Crown Affair.

366
00:19:46,120 --> 00:19:48,640
They did it with this movie The
Italian Job.

367
00:19:48,920 --> 00:19:51,760
Like it's it's just it's one of
my favorite sub genres because

368
00:19:51,880 --> 00:19:54,520
the remakes are fine.
You know what I mean, But that's

369
00:19:54,840 --> 00:19:57,640
about all they are.
But about it?

370
00:19:57,640 --> 00:20:00,720
But I will say, here's my
scorching hot take for the day

371
00:20:00,720 --> 00:20:03,440
and I'm going to set myself up
for you guys to attack me on

372
00:20:03,440 --> 00:20:06,880
this.
Gwyneth Paltrow plays the Grace

373
00:20:06,880 --> 00:20:11,960
Kelly role in the remake, and I
like Grace Kelly a lot.

374
00:20:13,240 --> 00:20:17,520
What I've been struck by in her
Hitchcock movies is that I don't

375
00:20:17,520 --> 00:20:19,160
think he gives her that much to
do.

376
00:20:20,040 --> 00:20:23,280
And I kind of preferred the
Gwyneth Paltrow role in the new

377
00:20:23,280 --> 00:20:28,600
version to the Grace Kelly role.
Did she try to sell you some

378
00:20:28,600 --> 00:20:31,120
goop products?
No, I was not offered goop at

379
00:20:31,120 --> 00:20:34,840
any point.
I was thinking about that

380
00:20:34,840 --> 00:20:37,840
watching the movie is that, you
know, so Grace Kelly's a star of

381
00:20:37,840 --> 00:20:40,560
both this and Rear Window, which
are both movies that essentially

382
00:20:40,560 --> 00:20:42,120
just take place in one
apartment.

383
00:20:43,320 --> 00:20:46,120
And so there's there's, like you
said, there's less for her to

384
00:20:46,120 --> 00:20:48,160
do.
It's a little different in her

385
00:20:48,160 --> 00:20:50,440
third Hitchcock movie, To Catch
a Thief, which is in the French

386
00:20:50,440 --> 00:20:52,560
Riviera.
And you know, she can be more

387
00:20:52,560 --> 00:20:55,480
like Grace Kelly.
But I agree that this dialogue

388
00:20:55,480 --> 00:20:58,240
for Murder didn't necessarily
need Grace Kelly to be the star.

389
00:20:58,720 --> 00:21:00,280
Yeah, and that.
And that's the hard part, right?

390
00:21:00,280 --> 00:21:04,760
Like Grace Kelly brings so much
to the table and like you said,

391
00:21:04,760 --> 00:21:08,360
Bob, her character, the the
script just doesn't ask a ton

392
00:21:08,360 --> 00:21:11,160
from her.
I I do think that by the end of

393
00:21:11,160 --> 00:21:16,200
the film, the descent from this
bright vivacious.

394
00:21:16,560 --> 00:21:20,800
Adulterous woman who's like
ready to leave her husband to

395
00:21:20,800 --> 00:21:26,440
this, like grief stricken
prison, like stupor that comes

396
00:21:26,440 --> 00:21:29,720
over her.
I think it's a really good arc

397
00:21:30,000 --> 00:21:33,360
and I think it kind of cements
the fact that this this isn't a

398
00:21:33,360 --> 00:21:36,120
happy ending.
Like at the end of the film,

399
00:21:36,120 --> 00:21:40,160
who's who's smiling and pouring
a glass of Brandy, right?

400
00:21:40,160 --> 00:21:43,360
Like this isn't a happy ending
even though.

401
00:21:44,160 --> 00:21:47,280
You know, justice is served, and
I think that's a fascinating

402
00:21:47,280 --> 00:21:50,960
piece of this film.
And you see that in in Grace

403
00:21:50,960 --> 00:21:53,600
Kelly's character.
Something that fascinates me

404
00:21:53,600 --> 00:21:57,680
about Grace Kelly's character in
the film is one of the major

405
00:21:57,680 --> 00:22:00,360
Hitchcock tropes we think of is,
you know, we think of

406
00:22:00,360 --> 00:22:03,000
Mcguffin's, we think of the icy
blondes, and we think of the

407
00:22:03,000 --> 00:22:05,840
wrong man accused for things.
And what's fascinating about

408
00:22:05,920 --> 00:22:08,840
Dial M for murder is it's not a
wrong man accused for things,

409
00:22:08,840 --> 00:22:10,240
but a wrong woman accused for
things.

410
00:22:10,640 --> 00:22:12,960
And I haven't gone deep enough
into Hitchcock's filmography to

411
00:22:12,960 --> 00:22:15,880
know whether that's unique to
this film or whether he did

412
00:22:15,880 --> 00:22:18,000
explored that before.
This is at least the first time

413
00:22:18,000 --> 00:22:21,200
I've ever encountered him doing
a film where the wrong woman is

414
00:22:21,200 --> 00:22:22,720
accused of something as opposed
to the wrong man.

415
00:22:23,080 --> 00:22:25,720
I think that's a great point,
and I think that's why, for me

416
00:22:25,720 --> 00:22:27,640
at least, this is the best of
the three.

417
00:22:27,640 --> 00:22:29,760
Hitchcock, Grace Kelly
performance.

418
00:22:29,760 --> 00:22:32,720
As we've seen Brad, she doesn't
get a lot to do.

419
00:22:33,160 --> 00:22:37,520
But in the moments where she is
really and truly breaking down

420
00:22:37,520 --> 00:22:41,120
at the emotional distress that
the situation is causing, I

421
00:22:41,120 --> 00:22:44,600
think she really does a great
job portraying a woman who feels

422
00:22:44,600 --> 00:22:48,160
trapped, who feels confused, and
who doesn't know who's in her

423
00:22:48,160 --> 00:22:50,000
corner and who's not.
Yeah.

424
00:22:50,000 --> 00:22:54,400
And she continually comes back
to her husband on this belief

425
00:22:54,400 --> 00:22:56,760
that he has changed, right.
Like that.

426
00:22:56,760 --> 00:22:58,840
Like that's one of the plot
points She was going to leave

427
00:22:58,840 --> 00:23:01,880
him, but then he quits tennis to
take care of her.

428
00:23:01,880 --> 00:23:05,600
And now?
She is is kind of like Pam.

429
00:23:05,600 --> 00:23:07,840
When she's trying to figure out
if she wants to be with Roy or

430
00:23:07,840 --> 00:23:11,360
with Jim, she's like, I don't
know who I actually want to be

431
00:23:11,360 --> 00:23:14,040
with because the guy I'm with is
treating me better than he used

432
00:23:14,120 --> 00:23:16,080
to.
And the guy that I want to be

433
00:23:16,080 --> 00:23:20,760
with lives in America.
And so she she plays that so

434
00:23:20,760 --> 00:23:23,960
incredibly well throughout the
film because she keeps coming

435
00:23:23,960 --> 00:23:27,400
back to Tony and she keeps
believing the stories that he

436
00:23:27,400 --> 00:23:30,800
tells and I and I think that
that gives a lot of depth to her

437
00:23:30,800 --> 00:23:34,360
character.
As she as she slowly figures out

438
00:23:34,360 --> 00:23:37,960
the truth, I want to talk a
little bit about the other two

439
00:23:37,960 --> 00:23:41,440
big roles in the movie.
And then before we go to break,

440
00:23:41,440 --> 00:23:43,440
talk a little bit about the way
the movie is structured.

441
00:23:43,840 --> 00:23:46,760
So the two remaining characters,
I guess that I would point out

442
00:23:46,760 --> 00:23:49,760
would be the Chief Inspector,
played by John Williams and

443
00:23:49,760 --> 00:23:52,960
Grace Kelly's lover, Mark, who's
played by Robert Cummings.

444
00:23:53,400 --> 00:23:56,080
I think that I guess let's start
with Robert Cummings.

445
00:23:56,480 --> 00:23:59,160
I found him really, really
charming in this movie.

446
00:23:59,160 --> 00:24:02,680
I thought that he his reactions
to things he's constantly like,

447
00:24:02,680 --> 00:24:05,680
you can see the wheels in his
head turning, and he plays an

448
00:24:05,680 --> 00:24:08,560
author of mystery novels or like
detective novels.

449
00:24:08,840 --> 00:24:12,720
And so he's he's constantly
inventing scenarios to try to

450
00:24:12,720 --> 00:24:16,840
figure out what happened with
this failed murder attempt that

451
00:24:16,840 --> 00:24:19,920
Grace Kelly then ends up getting
blamed for.

452
00:24:19,920 --> 00:24:22,880
They think that she basically,
you know, murdered this guy on

453
00:24:22,880 --> 00:24:24,400
purpose.
And there's a big convoluted

454
00:24:24,400 --> 00:24:26,600
reason why.
But she spends most of the

455
00:24:26,600 --> 00:24:29,440
second-half of the movie in
prison, and you don't see her.

456
00:24:29,800 --> 00:24:32,200
And so Robert Cummings keeps
coming back to the apartment

457
00:24:32,600 --> 00:24:36,840
with the stories he's concocting
to try to figure out what the

458
00:24:36,840 --> 00:24:40,760
timeline of events actually was.
I do love the showdown that he

459
00:24:40,760 --> 00:24:44,320
has with Tony.
I do love the fact that even,

460
00:24:44,520 --> 00:24:47,320
you know, every time Robert
Cummings thinks he has Tony

461
00:24:47,320 --> 00:24:51,360
cornered, Tony still finds a way
to outwit him all the way to the

462
00:24:51,360 --> 00:24:53,800
end of the movie.
Brad, I'm wondering what you

463
00:24:53,800 --> 00:24:55,760
thought of this Robert Cummings
performance.

464
00:24:57,520 --> 00:25:01,480
I think that it's decent.
I think he just doesn't have a

465
00:25:01,480 --> 00:25:07,760
lot to work with until like that
one scene where he's going in on

466
00:25:07,760 --> 00:25:13,520
how Tony should should concoct
this story just to save, you

467
00:25:13,520 --> 00:25:17,400
know, Margot's life and you know
as he goes through it and you

468
00:25:17,400 --> 00:25:21,000
see Tony like trying to poke
holes in it because it it's the

469
00:25:21,000 --> 00:25:23,360
story.
It's not just the story, it's

470
00:25:23,360 --> 00:25:28,800
reality of what happened.
I I love that interplay between

471
00:25:28,800 --> 00:25:32,080
Tony and Mark.
But other than that, he just

472
00:25:32,080 --> 00:25:35,880
kind of plays eye candy
throughout the film and he

473
00:25:35,880 --> 00:25:40,040
offers Tony the time when
they're at the club and then

474
00:25:40,040 --> 00:25:42,280
that's about it.
And I and I wanted more from him

475
00:25:42,280 --> 00:25:45,600
because that that one scene
where we got him really engaged,

476
00:25:45,880 --> 00:25:49,240
I was, I was drawn in by.
I really thought he was very

477
00:25:49,240 --> 00:25:51,880
charming.
Brad, the senior talking about,

478
00:25:51,880 --> 00:25:54,560
had, I think, my favorite line
in the film where Tony says

479
00:25:54,720 --> 00:25:57,840
killers don't work on credit.
Oh, it's so good.

480
00:25:58,280 --> 00:26:02,800
Dude, what a line.
So good Daniel, what do you

481
00:26:02,800 --> 00:26:05,560
think of the performance here?
I I agree with Brad.

482
00:26:05,560 --> 00:26:09,040
I think that Robert Cummings had
the least to do in the film.

483
00:26:10,120 --> 00:26:14,000
Whereas John Williams is the
Chief Inspector gets to end the

484
00:26:14,000 --> 00:26:16,280
film by combing his mustache,
which is just a the ultimate

485
00:26:17,000 --> 00:26:19,800
class.
Well, Speaking of John Cleese

486
00:26:19,800 --> 00:26:23,400
characters, I'm not entirely
convinced that this isn't just

487
00:26:23,400 --> 00:26:26,640
John Cleese playing John
Williams as the Chief.

488
00:26:26,640 --> 00:26:28,680
Thank you.
Thank you so much.

489
00:26:28,680 --> 00:26:31,280
I was like, gay.
I was like, oh, John Cleese.

490
00:26:31,280 --> 00:26:34,080
I was like, wait a second.
I know John Cleese is older, but

491
00:26:34,080 --> 00:26:36,560
this doesn't make sense.
There's no way he was this old

492
00:26:36,560 --> 00:26:40,880
in in like the mid 1950s.
And I looked it up and I was

493
00:26:40,880 --> 00:26:43,680
like John Williams.
And it clicked for me that he

494
00:26:43,680 --> 00:26:46,000
was in Bridge Over the River
Kwai.

495
00:26:47,200 --> 00:26:49,560
No, no, he wasn't.
I'm looking at his filmography

496
00:26:49,560 --> 00:26:51,960
right now.
Brad, we This is his third movie

497
00:26:51,960 --> 00:26:55,000
on our podcast, but not Bridge
on the River Kwai.

498
00:26:55,000 --> 00:26:59,000
He was in.
He was in Sabrina as Sabrina's

499
00:26:59,000 --> 00:27:04,720
dad.
Oh, and he Yes, and he was in to

500
00:27:04,720 --> 00:27:06,920
catch a Thief.
He played like the insurance

501
00:27:07,160 --> 00:27:09,400
agent salesman guy in To Catch
a.

502
00:27:09,400 --> 00:27:12,000
Thief Oh yeah, that.
That kept kind of going around

503
00:27:12,000 --> 00:27:13,360
helping him out.
Yep.

504
00:27:14,320 --> 00:27:16,560
You would like to.
You'd think that he would be in

505
00:27:16,560 --> 00:27:19,560
Bridge on the River Kwai because
he is possibly the most British

506
00:27:19,560 --> 00:27:23,400
man to ever exist.
Tell me he's not the perfect

507
00:27:23,400 --> 00:27:25,600
British officer in Bridge of the
River.

508
00:27:25,600 --> 00:27:28,880
Oh my gosh, absolutely, John
Cleese vibes.

509
00:27:29,160 --> 00:27:31,520
There was a line he had where he
was talking about doing his

510
00:27:31,520 --> 00:27:34,800
investigation that he had an
idea for a lead that he thought

511
00:27:34,880 --> 00:27:38,400
he could drop and he said but
but but but my blood was hot and

512
00:27:38,920 --> 00:27:42,600
it's it sounds almost like.
John Cleese would be saying that

513
00:27:42,600 --> 00:27:44,680
as parody, but no, it's not
parody.

514
00:27:44,680 --> 00:27:46,880
That's just who this British
inspector is.

515
00:27:47,400 --> 00:27:51,400
I just watched A Fish Called
Wanda for the first time last

516
00:27:51,400 --> 00:27:54,920
week and John Cleese plays a
barrister in that movie and like

517
00:27:54,920 --> 00:27:58,200
it is the exact same character.
So, you know, if you want to

518
00:27:58,200 --> 00:28:01,520
remake dial in for Murder Again,
I I suppose you could tap John

519
00:28:01,520 --> 00:28:06,120
Cleese for this role.
It is like a it is a hilariously

520
00:28:06,120 --> 00:28:09,520
over the top character.
Like, I don't necessarily know

521
00:28:09,520 --> 00:28:13,760
that the performance is over the
top, but it is such a hammy, you

522
00:28:13,760 --> 00:28:16,160
know, like it.
It's almost like he's, he's a

523
00:28:16,160 --> 00:28:21,800
caricature of Poirot coming in
with the mustache stuff and it's

524
00:28:21,800 --> 00:28:24,960
really well done.
But there were parts of this

525
00:28:24,960 --> 00:28:28,160
character that felt out of place
with the rest of the movie for

526
00:28:28,160 --> 00:28:30,280
me, if I'm being honest.
False.

527
00:28:30,280 --> 00:28:34,760
There's also a part where you
know his explaining the the his

528
00:28:34,760 --> 00:28:37,440
findings to Tony.
And, you know, you think Tony's

529
00:28:37,440 --> 00:28:39,480
gotten away with it and the
inspector's about to leave, but

530
00:28:39,480 --> 00:28:41,360
the infector stops that.
But there's just one other

531
00:28:41,360 --> 00:28:43,600
thing, and I got, you know, the
Columbo vibe?

532
00:28:43,880 --> 00:28:46,080
Yep, Yep.
And it was incredible.

533
00:28:46,160 --> 00:28:50,680
And I wanted him to be on screen
every minute of this movie.

534
00:28:50,680 --> 00:28:54,640
Like, I really, really loved Ray
Moland.

535
00:28:54,880 --> 00:28:57,760
I liked Grace Kelly.
Robert Cummings had a great

536
00:28:57,760 --> 00:29:00,120
scene.
I could not get enough John

537
00:29:00,120 --> 00:29:02,040
Williams in this movie, guys.
Not enough like.

538
00:29:03,080 --> 00:29:06,280
Not enough mustache combing.
I I think what it what it did

539
00:29:06,280 --> 00:29:11,320
for me was everything else was
so serious and and almost just a

540
00:29:11,320 --> 00:29:15,800
little bit melodramatic the way
everybody's going about it and I

541
00:29:15,800 --> 00:29:18,960
just felt like John Williams
character brought just enough

542
00:29:18,960 --> 00:29:23,000
levity even though he's taking
it just as seriously as everyone

543
00:29:23,000 --> 00:29:24,360
else.
There was something about the

544
00:29:24,360 --> 00:29:29,920
performance that I I don't know
if it lightened the load or or

545
00:29:29,920 --> 00:29:34,440
what, but it just.
Kept me entertained the entire

546
00:29:34,440 --> 00:29:37,360
film.
They kept it from being so dour

547
00:29:37,760 --> 00:29:41,040
that I, you know, I couldn't
feel engaged and I I thought

548
00:29:41,040 --> 00:29:44,920
that he just like knitted the
entire performance together or

549
00:29:44,920 --> 00:29:48,720
the entire film together for me.
One of the things about the

550
00:29:48,720 --> 00:29:52,680
script itself that I love so
much is that it serves all four

551
00:29:52,680 --> 00:29:56,080
of these characters because of
the fact that it's really a tale

552
00:29:56,080 --> 00:29:58,560
of two halves.
Like this movie has an

553
00:29:58,560 --> 00:30:01,280
intermission.
It's an hour and 45 minute movie

554
00:30:01,440 --> 00:30:04,480
with an intermission in the
middle, which is awesome first

555
00:30:04,480 --> 00:30:06,440
of all.
Yeah, I was going to say and

556
00:30:06,440 --> 00:30:09,800
it's also like a 12 second.
Unlike Killers of the Flower

557
00:30:09,800 --> 00:30:13,880
Moon, which does not have an
intermission and should listen,

558
00:30:13,880 --> 00:30:16,040
like, sometimes you have to pee
at the 50 minute mark.

559
00:30:16,040 --> 00:30:17,720
And Hitchcock is aware of this,
you know.

560
00:30:18,840 --> 00:30:21,240
But the reason that the
intermission works so well is

561
00:30:21,240 --> 00:30:24,680
that this really is a movie that
because of the way it's

562
00:30:24,680 --> 00:30:28,080
structured, you find out in the
early going, this guy's going to

563
00:30:28,080 --> 00:30:30,160
try to murder his wife.
And so it builds to this

564
00:30:30,160 --> 00:30:33,560
crescendo of the attempted
murder which happens at, like

565
00:30:33,560 --> 00:30:36,160
the, you know, 354045 minute
mark.

566
00:30:36,560 --> 00:30:40,240
When that falls apart and he has
to kind of regroup, there's an

567
00:30:40,240 --> 00:30:42,240
intermission.
And then the back half of the

568
00:30:42,240 --> 00:30:45,480
movie also builds to a
crescendo, but it's a crescendo

569
00:30:45,480 --> 00:30:50,240
of the police and Grace Kelly's
lover trying to figure out

570
00:30:50,240 --> 00:30:53,320
exactly what happened here.
And so you get this kind of

571
00:30:53,320 --> 00:30:56,000
like, you know, it's it's two
halves that you could kind of

572
00:30:56,000 --> 00:30:58,760
layer on top of each other and
they follow like the exact same

573
00:30:58,760 --> 00:31:01,920
trajectory.
But what that ends up doing is

574
00:31:01,920 --> 00:31:06,200
it gives Ray Meland and Grace
Kelly a bunch of great moments

575
00:31:06,200 --> 00:31:08,360
in the first half and then the
second-half.

576
00:31:08,400 --> 00:31:12,560
It really is kind of dominated
by the police chief and and

577
00:31:12,560 --> 00:31:15,360
Halladay as they try to figure
things out.

578
00:31:15,360 --> 00:31:18,280
And so I feel like everyone kind
of gets their chance to eat here

579
00:31:18,720 --> 00:31:20,240
and it works really, really
well.

580
00:31:20,240 --> 00:31:22,920
Brad.
Yeah, and and I I love the way

581
00:31:22,920 --> 00:31:26,760
the movie's structured there.
There is, you know, the time

582
00:31:26,760 --> 00:31:31,920
jump between act one and act two
that gives you something else to

583
00:31:31,920 --> 00:31:36,560
focus on and and like the entire
subplot is like the same.

584
00:31:36,560 --> 00:31:39,800
Is he going to get caught?
But just the change of scenery a

585
00:31:39,800 --> 00:31:42,120
little bit and and obviously
there's no scenery change.

586
00:31:42,120 --> 00:31:45,840
It's still in the apartment.
But the the change of who's

587
00:31:45,840 --> 00:31:49,360
doing the chasing, of who's
controlling the narrative, I

588
00:31:49,360 --> 00:31:52,640
think it keeps the movie fresh
and moving, so it doesn't feel

589
00:31:52,640 --> 00:31:57,920
like it's just 86 straight
minutes of one guy pretending

590
00:31:57,920 --> 00:31:59,320
like he's better than everyone
else.

591
00:32:00,480 --> 00:32:02,840
I'll slightly disagree with you
in the sense that I don't think

592
00:32:03,880 --> 00:32:06,040
the main gist is whether or not
he'll get caught.

593
00:32:06,040 --> 00:32:08,680
I think the main gist is we know
he's going to get caught and we

594
00:32:08,680 --> 00:32:10,200
as the audience are trying to
figure out.

595
00:32:10,840 --> 00:32:13,080
How he's going to get caught.
And Hitchcock is throwing us

596
00:32:13,120 --> 00:32:16,200
every step he goes through.
And we're the detectives trying

597
00:32:16,200 --> 00:32:19,600
to figure out which is the wrong
step and which is the one thing,

598
00:32:19,600 --> 00:32:23,640
the one detail he missed.
Well, and there's also, like,

599
00:32:24,160 --> 00:32:27,000
there's you think that someone's
got him cornered.

600
00:32:27,000 --> 00:32:29,320
So, like, as an audience member,
like when Holiday starts

601
00:32:29,320 --> 00:32:31,320
piercing it together, I'm like,
yes, yes, yes, yes.

602
00:32:31,640 --> 00:32:33,960
And even then the police chief
was like, no, that couldn't be.

603
00:32:34,080 --> 00:32:37,080
And I'm like, no, you almost had
it come back, come back.

604
00:32:37,520 --> 00:32:41,960
So you have this, you know,
you're reliving every step of

605
00:32:41,960 --> 00:32:44,640
the crime as they go through it
again.

606
00:32:44,920 --> 00:32:48,440
And it's like, it's so
infuriating to watch them almost

607
00:32:48,440 --> 00:32:51,960
get it, but it just continues to
add to the suspense because it

608
00:32:51,960 --> 00:32:55,400
seems like this guy's going to
get away with it every time they

609
00:32:55,400 --> 00:32:57,720
go down, You know, a different
rabbit trail.

610
00:32:58,360 --> 00:33:02,360
And at the end of the day,
there's moments where I kind of

611
00:33:02,360 --> 00:33:05,520
wanted him to get away with it.
You know what, if anyone ever

612
00:33:05,520 --> 00:33:08,680
deserved to?
My guy had some really like,

613
00:33:08,680 --> 00:33:12,640
truly great planning.
Yeah, dude, playing incredibly

614
00:33:12,640 --> 00:33:15,440
well and I I think that's.
I think that's the the

615
00:33:15,440 --> 00:33:19,920
difference as I think more about
rope, the mains.

616
00:33:19,920 --> 00:33:23,160
You know the main two students
who kill their fellow student.

617
00:33:23,720 --> 00:33:29,800
They just the the youthfulness
and the eagerness just is a

618
00:33:29,800 --> 00:33:32,360
little just like nails on a
chalkboard.

619
00:33:32,360 --> 00:33:35,680
For me, there's something about
the older.

620
00:33:36,040 --> 00:33:38,920
Like self assuredness.
I don't have to prove myself to

621
00:33:38,920 --> 00:33:42,040
anyone.
I'm just doing this that feels a

622
00:33:42,040 --> 00:33:46,640
lot more dastardly and and
villainous and and I don't know

623
00:33:46,640 --> 00:33:51,920
that that type of a villain
draws me in so much more well.

624
00:33:51,920 --> 00:33:54,760
And I think what makes the
villain role work so well too,

625
00:33:54,760 --> 00:33:58,880
is the extent to which he is
cool and calm and collected and

626
00:33:58,880 --> 00:34:02,200
detached.
Because, you know, it's

627
00:34:02,200 --> 00:34:05,000
understandable that, you know,
he finds out his wife is

628
00:34:05,120 --> 00:34:07,800
cheating on him, like for an
extended period of time, she's

629
00:34:07,800 --> 00:34:09,920
having this long standing
affair.

630
00:34:10,239 --> 00:34:14,000
And so you can understand the
impulse of a guy to say, like, I

631
00:34:14,000 --> 00:34:17,840
want to kill them, right?
But then to see the extent to

632
00:34:17,840 --> 00:34:21,159
which she has mapped this entire
thing out, and how he's been so

633
00:34:21,159 --> 00:34:26,000
patiently waiting for it, and
the complete lack of emotion

634
00:34:26,000 --> 00:34:30,520
that's tied to it.
It's really hard to make someone

635
00:34:30,520 --> 00:34:35,719
seem like the clear face of evil
when they're paired up against

636
00:34:35,719 --> 00:34:39,000
someone who's also doing a wrong
act, which is Grace Kelly.

637
00:34:39,320 --> 00:34:45,400
And yet, this guy is so
sociopathic that you are

638
00:34:45,400 --> 00:34:48,040
immediately back on Grace
Kelly's side, which is a really

639
00:34:48,040 --> 00:34:51,520
hard thing to do, especially in
a movie from the 1950s where you

640
00:34:51,520 --> 00:34:55,080
can't really show people
engaging in an extramarital

641
00:34:55,080 --> 00:34:58,480
affair, Like, I feel like.
People were already turned

642
00:34:58,480 --> 00:35:01,800
against Grace Kelly, and it took
someone as evil as this to turn

643
00:35:01,800 --> 00:35:04,120
them back toward her.
Yeah, no, I agree.

644
00:35:04,480 --> 00:35:08,280
He seems so dispassionate about
it, Like you never get the vibe

645
00:35:08,280 --> 00:35:10,760
that he's out for revenge, that
it's very much a financial

646
00:35:10,760 --> 00:35:14,160
proposition for him.
Yeah, but but it's also like,

647
00:35:14,400 --> 00:35:17,200
you know, he's he's certainly
opportunistic, like he's using

648
00:35:17,200 --> 00:35:21,080
the affair as the perfect timing
to pull it off.

649
00:35:21,080 --> 00:35:23,680
But you can tell how little he
truly cares about it.

650
00:35:23,680 --> 00:35:27,080
It's not as if he's acting out
of some place of woundedness.

651
00:35:27,560 --> 00:35:30,360
And I think that's what helps,
right?

652
00:35:30,360 --> 00:35:32,160
And that's what helps kind of
reframe the whole thing.

653
00:35:32,160 --> 00:35:35,800
Because, you know, while what
Grace Kelly is doing is wrong,

654
00:35:36,040 --> 00:35:39,200
there's at least emotion and
passion tied up in that whole

655
00:35:39,200 --> 00:35:41,360
affair.
And then you see this guy who

656
00:35:41,360 --> 00:35:44,280
just has ice in his veins and
would be at home in a David

657
00:35:44,280 --> 00:35:48,040
Fincher movie and it it makes a
whole lot more sense.

658
00:35:49,160 --> 00:35:51,400
All right guys, I think we are
in a good place to hit pause

659
00:35:51,400 --> 00:35:53,040
here.
Brad and I are going to sneak

660
00:35:53,040 --> 00:35:55,040
off and drink some barrel proof
whiskey.

661
00:35:55,560 --> 00:35:58,040
We're going to come back and
continue talking about Dial M

662
00:35:58,040 --> 00:35:59,960
for murder.
Brad, what do you say we get to

663
00:35:59,960 --> 00:36:04,760
this 1792 Foolproof?
After last week's 1792, I'm

664
00:36:04,800 --> 00:36:06,880
cautiously excited for this one,
Bob.

665
00:36:12,160 --> 00:36:16,320
OK, so today we are rounding out
Season 7 on the whiskey side of

666
00:36:16,320 --> 00:36:21,560
things with the last sample in
our 5 sample flight of 1792.

667
00:36:21,960 --> 00:36:26,320
This is 1792.
Foolproof Brad I am.

668
00:36:26,640 --> 00:36:29,200
I'm not going to lie, I'm a big
fan of this whiskey.

669
00:36:29,200 --> 00:36:30,920
I've got a bottle of it on my
shelf.

670
00:36:31,320 --> 00:36:33,040
I'm not drinking from that
bottle.

671
00:36:33,040 --> 00:36:35,640
I am drinking from a sample that
we are sharing that was sent to

672
00:36:35,640 --> 00:36:38,680
us by our friends, bourbon and
stuff on Instagram.

673
00:36:38,680 --> 00:36:42,480
Bourbon and stuff.
You're like, really getting into

674
00:36:42,480 --> 00:36:43,880
the singing the jingles today,
man.

675
00:36:44,360 --> 00:36:45,840
Yeah, I'm all about it.
I like it.

676
00:36:46,000 --> 00:36:47,400
It's a good time.
This one we really need is

677
00:36:47,400 --> 00:36:50,120
musical numbers introduced into
film and whiskey.

678
00:36:50,320 --> 00:36:53,360
Like in addition to the other
jingles we already have like

679
00:36:53,680 --> 00:36:56,920
just I was going to say.
You always know that you're

680
00:36:56,920 --> 00:37:00,080
getting into the later seasons
of a television show.

681
00:37:00,280 --> 00:37:04,720
When they have their musical
episode, that's like a sure sign

682
00:37:04,720 --> 00:37:06,680
that the quality of the show is
going downhill.

683
00:37:07,040 --> 00:37:09,000
Wow.
What are you implying here, man?

684
00:37:09,880 --> 00:37:12,800
I I'm just saying the the
writers for the film and Whiskey

685
00:37:12,800 --> 00:37:15,240
podcast.
I feel like we're on our third

686
00:37:15,240 --> 00:37:17,520
set at this point.
They're on strike right now,

687
00:37:17,520 --> 00:37:19,440
yeah.
They're on strike right now.

688
00:37:19,440 --> 00:37:22,600
We we got a few scabs.
It's not looking good, not

689
00:37:22,840 --> 00:37:26,080
looking good for us, man, but it
is kind of looking good for

690
00:37:26,080 --> 00:37:29,360
1792.
We had a a slight upturn last

691
00:37:29,360 --> 00:37:33,200
week with the single Barrel and
I'm hoping that we can kind of

692
00:37:33,200 --> 00:37:35,280
carry that goodwill into the
full proof.

693
00:37:35,400 --> 00:37:39,080
Now this is bottled at 125
proof, that's why it's not

694
00:37:39,080 --> 00:37:41,480
called barrel proof because the
proof does not fluctuate.

695
00:37:41,560 --> 00:37:45,440
So it is.
It could be barrel proof, but

696
00:37:45,440 --> 00:37:49,560
they regulate the proof to 125.
Which I think is a good idea.

697
00:37:50,080 --> 00:37:52,000
Like I I'm all about barrel
proof.

698
00:37:52,000 --> 00:37:56,360
But there is that essence of
irregularity when you're getting

699
00:37:56,360 --> 00:38:01,080
a bottle that you know, one's at
128 and 121 and 135 and there is

700
00:38:01,080 --> 00:38:04,560
something kind of nice about
saying, hey, these are all our

701
00:38:04,560 --> 00:38:07,920
high proof offerings.
But we're going to just barely

702
00:38:07,920 --> 00:38:10,760
take the rough edge off and
bring it down to 125 no matter

703
00:38:10,760 --> 00:38:12,880
what.
Now I believe in this instance

704
00:38:12,880 --> 00:38:16,000
the reason they call it
foolproof is because the legal

705
00:38:16,000 --> 00:38:20,040
limit of what bourbon can be
when it goes into the barrel is

706
00:38:20,040 --> 00:38:23,280
125 and so they they're
essentially saying this is like

707
00:38:23,360 --> 00:38:26,680
entry proof level, but they call
it foolproof.

708
00:38:27,040 --> 00:38:29,680
It's non age stated apparently.
At one time.

709
00:38:29,680 --> 00:38:32,800
There was a press release that
came out back in like 2016 when

710
00:38:32,800 --> 00:38:35,480
this was first released and it
said 8.5 years.

711
00:38:35,920 --> 00:38:37,040
But they don't put it on the
bottle.

712
00:38:37,040 --> 00:38:40,200
So I'm guessing this is at least
you know, 6-7 eight years old.

713
00:38:40,200 --> 00:38:42,760
I don't know how old the
youngest in the blend is.

714
00:38:43,400 --> 00:38:49,840
It appears to be a 75% corn, 15%
rye, 10% malted barley mashbill.

715
00:38:50,640 --> 00:38:52,360
Let's dive in.
Brad, what are you picking up on

716
00:38:52,360 --> 00:38:55,280
the nose here?
This is a a really pleasant

717
00:38:55,280 --> 00:38:58,640
nose.
I got toffee vanilla.

718
00:38:59,000 --> 00:39:02,480
There's some orange Creamsicle
creaminess going on.

719
00:39:03,000 --> 00:39:07,840
And I I got kind of the the
scent of like freshly watered

720
00:39:07,840 --> 00:39:10,680
coffee grounds.
Like like right after the water

721
00:39:10,680 --> 00:39:13,440
has gone through them, I have
the same note, Brad.

722
00:39:13,440 --> 00:39:16,800
I have coffee grounds.
Not just coffee coffee grounds

723
00:39:16,800 --> 00:39:19,560
are is in my notes.
Wow, look at us.

724
00:39:19,560 --> 00:39:22,160
I know.
Yeah, I I think it's a solid,

725
00:39:22,160 --> 00:39:24,480
pleasant nose.
I'll give it a 7 1/2 here.

726
00:39:24,480 --> 00:39:26,200
Yeah, I'm going to do about the
same here.

727
00:39:26,200 --> 00:39:29,720
The ethanol is very prominent on
the nose, and it definitely tips

728
00:39:29,720 --> 00:39:33,160
more into the oaky and kind of
dark side of things.

729
00:39:33,400 --> 00:39:36,240
It reminds me a lot of some
Buffalo Trace products.

730
00:39:36,280 --> 00:39:39,200
You know, we have that that
signature oakiness here, and

731
00:39:39,200 --> 00:39:41,640
it's a little bit more like a
toasted oak than even a charred

732
00:39:41,640 --> 00:39:43,840
oak.
I get a lot of coffee grounds.

733
00:39:44,120 --> 00:39:47,560
I get quite a bit of chocolate
on this as well, but it's not

734
00:39:47,560 --> 00:39:51,160
syrupy sweet as we've come to
expect with some well aged

735
00:39:51,160 --> 00:39:52,840
bourbons.
I like it.

736
00:39:52,840 --> 00:39:55,720
I'm a little worried that it's
not necessarily going to hit my

737
00:39:55,720 --> 00:39:59,240
palate exactly how I want it to
today, so I'm going to give it a

738
00:39:59,240 --> 00:40:02,520
7.5 here.
Yeah, and when I get into the

739
00:40:02,520 --> 00:40:08,440
palate, I think that this turns
into this rich, delectable

740
00:40:08,440 --> 00:40:10,320
whiskey that I was not
expecting.

741
00:40:10,640 --> 00:40:14,560
I got caramel cheesecake.
There's dark chocolate notes

742
00:40:14,560 --> 00:40:19,240
galore and it it really reminded
me of like a really nice kind of

743
00:40:19,240 --> 00:40:23,840
fruity light roast coffee.
There is a lot of really

744
00:40:23,840 --> 00:40:28,400
beautiful things happening here
easily, like far and away.

745
00:40:28,400 --> 00:40:33,240
The best 1792 I've had like,
like by an order of magnitude.

746
00:40:33,680 --> 00:40:36,360
So I'll, I'll give it a nine out
of 10 here on the pallet.

747
00:40:36,800 --> 00:40:40,000
One of my favorite things to try
to explain when when you and I

748
00:40:40,000 --> 00:40:45,120
are talking is like mapping out
how the flavour spread across my

749
00:40:45,120 --> 00:40:47,120
tongue.
And this is an interesting one.

750
00:40:47,120 --> 00:40:51,080
This is like the the Oppenheimer
Trinity test of flavor

751
00:40:51,080 --> 00:40:52,360
explosions.
It's like.

752
00:40:53,280 --> 00:40:54,880
It.
Literally nothing happened on

753
00:40:54,880 --> 00:40:57,080
the tip of my tongue.
It got to the mid palate and

754
00:40:57,080 --> 00:41:00,040
then detonated and then spread
in all directions like

755
00:41:00,040 --> 00:41:02,280
immediately and the ethanol
again.

756
00:41:02,280 --> 00:41:07,000
I think this is one of the more
aggressive, foolproof whiskeys

757
00:41:07,120 --> 00:41:08,480
that are out there on the
market.

758
00:41:08,480 --> 00:41:12,040
Like it's it's really, really
good, but it is incredibly

759
00:41:12,240 --> 00:41:15,400
prickly on the tongue.
The ethanol makes itself known.

760
00:41:15,720 --> 00:41:18,000
I wouldn't really call this a
spicy whiskey.

761
00:41:18,000 --> 00:41:21,080
I would call it prickly.
I think you understand what I'm

762
00:41:21,080 --> 00:41:23,360
trying to say there, what with
what it does on your palate.

763
00:41:24,280 --> 00:41:26,440
But I'm with you, man.
There's a lot of sweetness here.

764
00:41:26,440 --> 00:41:28,640
For me, it was much more fruity
than expected.

765
00:41:28,640 --> 00:41:32,200
I got some Peach notes on this
that I really wasn't expecting.

766
00:41:32,640 --> 00:41:34,680
I like it a lot.
I'm going to give it a second

767
00:41:34,760 --> 00:41:37,600
sip and maybe my score will come
up on finish, but right now I'm

768
00:41:37,600 --> 00:41:41,120
just sticking at an 8 out of 10.
So when I when I got to the

769
00:41:41,120 --> 00:41:44,480
finish it, it came down a little
bit from the the highs of the

770
00:41:44,480 --> 00:41:46,680
pallet.
I think it got into a really

771
00:41:46,680 --> 00:41:49,680
dark territory there.
There's coffee beans, there's

772
00:41:49,680 --> 00:41:54,120
dark chocolate and for for me it
really stuck in that range of

773
00:41:54,120 --> 00:41:57,960
like a really nice vanilla
Porter there.

774
00:41:57,960 --> 00:42:02,080
There's just so much really nice
dark flavors going on here,

775
00:42:02,080 --> 00:42:04,600
along with some, you know,
classic oakiness that you get on

776
00:42:04,600 --> 00:42:06,680
the finish.
I'm going to give it an 8 1/2

777
00:42:06,680 --> 00:42:09,080
here, Bob.
Man, I don't know if I've ever

778
00:42:09,080 --> 00:42:10,960
been more in agreement with your
tasting notes.

779
00:42:11,040 --> 00:42:14,080
Like a Porter or a stout is a
great comparison on this.

780
00:42:14,080 --> 00:42:15,840
There's a ton of coffee bean on
this.

781
00:42:16,360 --> 00:42:18,920
It gets a little bit creamier
for me on this second sip.

782
00:42:18,960 --> 00:42:22,400
The ethanol once again is very
prominent on the palate.

783
00:42:22,800 --> 00:42:25,720
On the finish though, not so
much like.

784
00:42:25,720 --> 00:42:28,320
I feel like It kind of like
fizzles out a little bit in

785
00:42:28,320 --> 00:42:30,760
terms of how much of A punch it
packs.

786
00:42:31,400 --> 00:42:34,120
It leaves a really nice finish
behind, a little bit of herbal,

787
00:42:34,360 --> 00:42:37,920
almost vegetal kind of notes.
And it warms your chest on the

788
00:42:37,920 --> 00:42:39,480
way down.
But I wouldn't call it super

789
00:42:39,480 --> 00:42:43,240
aggressive, so I actually like
the finish probably better than

790
00:42:43,240 --> 00:42:45,520
I like the taste.
I'm still going to stick in an 8

791
00:42:45,600 --> 00:42:47,920
out of 10 here.
And I think when you get to

792
00:42:47,920 --> 00:42:52,040
balance, I don't know about you
Bob, but for me, this is a

793
00:42:52,040 --> 00:42:56,080
really spectacular amount of
complexity and flavor going on

794
00:42:56,080 --> 00:42:58,640
here that I wasn't necessarily
expecting at the nose.

795
00:42:59,560 --> 00:43:02,120
I'm I'm not going to give it
like a perfect score because it

796
00:43:02,120 --> 00:43:06,280
definitely ramps up, but I am
going to give it a nine out of

797
00:43:06,280 --> 00:43:08,200
10 on balance.
I think they did something

798
00:43:08,200 --> 00:43:09,480
really interesting here.
I'm.

799
00:43:10,440 --> 00:43:13,640
Going to come down a little bit
and once again, I'm going to add

800
00:43:13,640 --> 00:43:16,440
the caveat that this sample of
whiskey has been sitting on our

801
00:43:16,440 --> 00:43:20,720
shelf for like 2 years now.
So it's probably, you know, it's

802
00:43:20,720 --> 00:43:22,920
probably gotten a little bit
oxidized at this point.

803
00:43:23,120 --> 00:43:25,920
I really prefer the bottle of
this that I have on my shelf,

804
00:43:25,920 --> 00:43:27,600
but I'm not going to score it
based on that.

805
00:43:27,600 --> 00:43:29,280
I want to score on exactly what
we're drinking.

806
00:43:29,840 --> 00:43:33,040
It gets a little bit bitter
towards the very, very end of

807
00:43:33,040 --> 00:43:34,320
it.
And I would say that the

808
00:43:34,320 --> 00:43:38,040
beginning, like the nose of it,
didn't indicate exactly what

809
00:43:38,040 --> 00:43:40,320
kind of flavors it was actually
going to have on the palate.

810
00:43:40,640 --> 00:43:43,480
So it was a little bit of a
each.

811
00:43:43,600 --> 00:43:47,760
Each part of the journey was a
surprise, but it wasn't super

812
00:43:47,760 --> 00:43:49,560
consistent for me.
So I'm just going to give it a

813
00:43:49,560 --> 00:43:53,600
7.5 here and you are.
I feel like you're coming in on

814
00:43:53,600 --> 00:43:56,120
pretty harsh for this one.
No, I think it's because for the

815
00:43:56,120 --> 00:43:58,240
last four weeks I've been saying
like wait till we get to

816
00:43:58,240 --> 00:43:59,720
foolproof.
Wait till we get to foolproof.

817
00:44:00,160 --> 00:44:04,600
I like let it be known I love
1792 Foolproof.

818
00:44:05,160 --> 00:44:08,200
I will once again say I think
that we probably should have

819
00:44:08,200 --> 00:44:10,200
gotten to these samples a little
quicker than we did.

820
00:44:11,520 --> 00:44:14,960
And I am very excited to bring
my bottle down to your house

821
00:44:14,960 --> 00:44:17,920
next time we hang out because I
think it's is significantly

822
00:44:17,920 --> 00:44:19,720
better than what we just poured
here.

823
00:44:20,760 --> 00:44:24,760
Yeah, I'm excited to try it.
I I I think that when we get to

824
00:44:24,760 --> 00:44:28,440
the value category, I'm curious
to hear your score because I'm

825
00:44:28,440 --> 00:44:33,640
seeing that you can get this
online in general for about $70.

826
00:44:34,240 --> 00:44:37,520
Yeah, Brad, the MSRP on this in
the state of Ohio at least it

827
00:44:37,520 --> 00:44:42,520
sells for $46 and I believe that
it is now allocated and you may

828
00:44:42,640 --> 00:44:44,480
may or may not have to enter a
lottery to get it.

829
00:44:44,520 --> 00:44:47,360
I remember buying a bottle of
this like straight off the shelf

830
00:44:47,360 --> 00:44:50,320
about a year ago in Ohio, and I
paid about 45 bucks.

831
00:44:50,960 --> 00:44:54,920
I imagine that that $70.00
markup is for areas where it is

832
00:44:54,920 --> 00:44:58,640
a little more allocated or less
seen, and so you're paying the

833
00:44:58,640 --> 00:45:01,880
$70.00 just to secure your
bottle of it.

834
00:45:02,800 --> 00:45:05,480
I don't know that $70.00 is
necessarily the price point we

835
00:45:05,480 --> 00:45:07,400
need to score this on.
I think maybe let's split the

836
00:45:07,400 --> 00:45:11,240
difference here and say, I don't
know, 5558.

837
00:45:11,240 --> 00:45:12,200
Sure.
Yeah.

838
00:45:12,600 --> 00:45:15,320
Yeah.
Let's say, let's say 5560 bucks.

839
00:45:15,800 --> 00:45:20,200
I think at that price point, I'm
going to give it an 8 out of 10.

840
00:45:21,040 --> 00:45:23,560
I think that's a pretty good
value for the poor that you're

841
00:45:23,560 --> 00:45:29,600
getting that like the the way
that it melds together coffee

842
00:45:29,600 --> 00:45:32,600
and caramel and it's creamy and
oaky.

843
00:45:32,600 --> 00:45:37,600
I I really think that this is a
great value at 5560 dollars.

844
00:45:37,920 --> 00:45:39,680
Yeah, I do too.
I think it's an even better

845
00:45:39,680 --> 00:45:43,440
value at 46, right?
So right there, it's in line

846
00:45:43,440 --> 00:45:45,840
with something like a Wild
Turkey rare breed and I think

847
00:45:45,840 --> 00:45:49,120
it's an absolute steal.
At $55 you're getting into the

848
00:45:49,120 --> 00:45:53,800
range of, I don't know, old
Forester 1920, which I think I

849
00:45:53,800 --> 00:45:58,960
probably prefer to this Noah's
Mill, which I personally prefer

850
00:45:58,960 --> 00:46:02,360
to this, but I think it's it's
still a value at that price

851
00:46:02,360 --> 00:46:04,960
range.
So I'm going to give it a 7.5

852
00:46:04,960 --> 00:46:08,160
out of 10 here.
And Brad, surprisingly, I think

853
00:46:08,160 --> 00:46:11,960
I'm finally going to be below
you in my final score 'cause I'm

854
00:46:11,960 --> 00:46:14,480
coming out to a 38 1/2 out of
50.

855
00:46:14,920 --> 00:46:16,760
Yeah, I'm at a 42 out of 50,
Bob.

856
00:46:16,880 --> 00:46:19,880
I really enjoyed this.
I think this is one of your

857
00:46:19,880 --> 00:46:21,920
higher rated whiskeys on the
season, Brad.

858
00:46:22,320 --> 00:46:24,560
Yeah, it is.
This is up there.

859
00:46:24,560 --> 00:46:28,200
I I think that for me it's like
I said earlier, it's that

860
00:46:28,200 --> 00:46:33,200
mixture of like creamy caramel
with all those nice dark coffee

861
00:46:33,200 --> 00:46:37,400
notes that I I was really
entranced with this this bottle.

862
00:46:37,840 --> 00:46:39,760
All right, Brad.
Well, I feel like.

863
00:46:40,480 --> 00:46:42,800
We have nothing snarky or mean
to say this week.

864
00:46:42,800 --> 00:46:44,800
This is like a really good place
to be in.

865
00:46:45,000 --> 00:46:49,280
Let's see if we can continue
having goodwill towards men with

866
00:46:49,280 --> 00:46:51,560
the rest of DI LM for murder.
What do you say?

867
00:46:52,040 --> 00:46:57,560
Let's get to it.
All right, everybody.

868
00:46:57,560 --> 00:47:00,160
That was 1792.
Full proof.

869
00:47:01,040 --> 00:47:04,000
A foolproof of a whiskey, Bob,
because that was delicious.

870
00:47:04,000 --> 00:47:06,480
That.
Whiskey is so good, man, it

871
00:47:06,480 --> 00:47:09,720
redeemed the whole brand.
Yeah, 100%.

872
00:47:09,720 --> 00:47:14,760
I I'm still a little bit amazed
with how strong I swung from one

873
00:47:14,760 --> 00:47:19,080
side of the enjoyment spectrum
to the other as we moved up in

874
00:47:19,080 --> 00:47:22,560
the proof points here.
A a true pendulum, Brad and and

875
00:47:22,640 --> 00:47:25,480
talking about swinging wildly
from failure to success.

876
00:47:26,360 --> 00:47:29,600
I have been absolutely
vacillating back and forth when

877
00:47:29,600 --> 00:47:33,000
it comes to our next segment,
which we call 2 facts and a

878
00:47:33,000 --> 00:47:36,080
Falsehood.
Brad is going to try to stump

879
00:47:36,080 --> 00:47:40,600
your ball.
Two all right and what is wrong?

880
00:47:42,160 --> 00:47:46,080
2 facts and a falsehood. 2 Facts
and a Falsehood is the part of

881
00:47:46,080 --> 00:47:49,680
the podcast where Brad presents
three items to me as fact about

882
00:47:49,680 --> 00:47:52,800
the making of this movie, and I
have to guess which one is

883
00:47:52,800 --> 00:47:55,840
actually a lie.
Brad, you get to play the Ray

884
00:47:55,840 --> 00:47:58,600
Meland character here.
We know that you have set out to

885
00:47:58,600 --> 00:48:01,680
do dastardly things and to try
to trim that up here.

886
00:48:02,640 --> 00:48:05,800
I think I have secured my have I
secured my winning season now?

887
00:48:06,800 --> 00:48:13,120
I think you are.
It's currently 14 and I'm 14 and

888
00:48:13,120 --> 00:48:16,880
17.
So yes, I've got my so I can

889
00:48:16,880 --> 00:48:19,360
just throw this one away and
wait for the playoffs, is what

890
00:48:19,360 --> 00:48:21,000
you're saying.
At this point, I can bench my

891
00:48:21,000 --> 00:48:22,440
starters.
Yeah, cool.

892
00:48:23,400 --> 00:48:26,360
Well, I've got some Somehow
it'll still screw the Browns

893
00:48:26,360 --> 00:48:28,200
over.
I've got an ace in the hole

894
00:48:28,200 --> 00:48:30,600
here.
I've got a ringer in Daniel

895
00:48:30,600 --> 00:48:32,240
who's going to help me out as my
phone.

896
00:48:32,240 --> 00:48:35,200
A friend for your three supposed
facts.

897
00:48:35,840 --> 00:48:37,800
So Brad, go ahead and hit me
with your two facts and a

898
00:48:37,800 --> 00:48:41,320
falsehood fact.
Number one, Hitchcock had chosen

899
00:48:41,320 --> 00:48:44,400
a very expensive robe for Grace
Kelly to wear when she answered

900
00:48:44,400 --> 00:48:46,720
the phone.
Kelly balked and said that no

901
00:48:46,720 --> 00:48:49,040
woman would put on such a robe
just to answer the ringing

902
00:48:49,040 --> 00:48:50,760
telephone while she was asleep
alone.

903
00:48:51,000 --> 00:48:53,000
She would answer it in her
simple nightgown.

904
00:48:53,280 --> 00:48:55,960
Hitchcock agreed to do it her
way and liked the way the rushes

905
00:48:55,960 --> 00:48:58,400
turned out.
And he allowed Grace to make all

906
00:48:58,400 --> 00:49:01,920
of her own costume decisions in
the in the subsequent movies

907
00:49:01,920 --> 00:49:06,440
they worked on together.
Fact #2, due to Hitchcock's

908
00:49:06,440 --> 00:49:10,280
complaining, Grace Kelly was
filmed for the very first and

909
00:49:10,280 --> 00:49:13,320
very last time in a movie
without any makeup on.

910
00:49:13,320 --> 00:49:16,480
At the end of the film, he felt
that any amount of makeup on her

911
00:49:16,480 --> 00:49:20,320
took away from the look of
spending months in jail that her

912
00:49:20,320 --> 00:49:25,960
character had just endured.
Fact #3, four more adaptations

913
00:49:25,960 --> 00:49:29,080
followed Hitchcock's 1954
version three made for

914
00:49:29,080 --> 00:49:31,520
television movies released in
1950.

915
00:49:32,360 --> 00:49:35,440
I think I copied the wrong
numbers.

916
00:49:38,080 --> 00:49:40,040
I'm.
I'm immediately suspicious.

917
00:49:40,080 --> 00:49:43,720
Yeah.
OK, so three made for television

918
00:49:43,720 --> 00:49:45,640
and then the one with Gwyneth
Paltrow, right?

919
00:49:46,320 --> 00:49:48,720
And then 1998's A Perfect Murder
All.

920
00:49:48,720 --> 00:49:54,320
Right.
I am immediately drawn to #2 as

921
00:49:54,320 --> 00:49:58,880
the falsehood because I read
quite a bit about Grace Kelly's

922
00:49:59,240 --> 00:50:03,200
costuming in this movie.
Apparently Hitchcock wanted the

923
00:50:03,240 --> 00:50:05,880
color palette of all her
costumes to get darker and

924
00:50:05,880 --> 00:50:10,000
darker and kind of more drab as
the movie went on to indicate

925
00:50:10,000 --> 00:50:11,960
how hopeless of a situation she
was in.

926
00:50:13,640 --> 00:50:18,120
I also I I understand why
Hitchcock would be on board with

927
00:50:18,120 --> 00:50:20,920
her wearing a sheer see through
nightgown.

928
00:50:21,200 --> 00:50:25,280
You know, Hitchcock famously a
dirty, dirty boy.

929
00:50:26,200 --> 00:50:28,640
So the second one, very, very
Hitchcockian.

930
00:50:29,280 --> 00:50:31,920
Very Hitchcockian.
The second one kind of sticks

931
00:50:31,920 --> 00:50:34,600
out like a sore thumb to me.
We've established the remakes of

932
00:50:34,600 --> 00:50:37,360
this movie.
I guess the only thing that Brad

933
00:50:37,360 --> 00:50:39,760
could have made-up is the number
of remakes.

934
00:50:41,280 --> 00:50:44,400
Yeah, I was wondering whether
four was the right number.

935
00:50:44,840 --> 00:50:49,880
I know of at least two, but like
you, I'm suspect of the of the

936
00:50:49,880 --> 00:50:52,440
Grace Kelly getting to pick out
her own wardrobes in films.

937
00:50:52,440 --> 00:50:56,200
That just doesn't seem like a
Hitchcock thing.

938
00:50:56,200 --> 00:50:58,520
He he seems like too controlling
for that.

939
00:50:59,200 --> 00:51:01,160
Well, the one, Daniel, you're
suspicious of #1.

940
00:51:01,160 --> 00:51:03,680
That's number one.
Yeah, #2 is the no makeup,

941
00:51:03,760 --> 00:51:06,000
which.
Oh wait, are we are we picking

942
00:51:06,000 --> 00:51:08,800
two false or two true?
Well, there's only one

943
00:51:08,800 --> 00:51:10,360
falsehood.
Two of them are true.

944
00:51:11,280 --> 00:51:12,440
Yes.
And one of them I I think

945
00:51:12,440 --> 00:51:14,520
number, I think #2 would be the
falsehood.

946
00:51:15,480 --> 00:51:21,080
OK, so the wardrobe thing was
the end of number. 10 What was

947
00:51:21,120 --> 00:51:23,280
number?
Two was Grace Kelly didn't wear

948
00:51:23,280 --> 00:51:25,240
any makeup at the end of the
movie, which?

949
00:51:25,680 --> 00:51:28,240
I don't think it's true, because
I don't think you get in a

950
00:51:28,240 --> 00:51:32,720
Hollywood movie in 1954 without
at least wearing a base layer of

951
00:51:32,720 --> 00:51:35,560
foundation.
See, I think that one is true

952
00:51:35,560 --> 00:51:37,960
because I do feel like she
looked different at the end of

953
00:51:37,960 --> 00:51:39,320
the film.
I mean, maybe it's just less

954
00:51:39,320 --> 00:51:43,160
make up, see that's.
What I think #1 is false, I'm

955
00:51:43,160 --> 00:51:45,400
not confident.
Man, this is not good.

956
00:51:45,960 --> 00:51:48,920
Because now I'm thinking maybe
#3 is the falsehood and Brad

957
00:51:48,920 --> 00:51:52,720
invented too many remakes of
this movie.

958
00:51:54,320 --> 00:51:56,880
'Cause even in the first half of
the episode, I said, like, oh, I

959
00:51:56,880 --> 00:51:58,680
think there was only two remakes
of this movie.

960
00:52:01,080 --> 00:52:04,880
Brad, I should not have benched
my starters today.

961
00:52:04,880 --> 00:52:09,120
This is not good.
All right?

962
00:52:11,120 --> 00:52:13,120
I was drawn to two to start
with.

963
00:52:14,520 --> 00:52:17,800
I'm just gonna go ahead and say
I'm going with my gut and saying

964
00:52:17,800 --> 00:52:22,880
#2, but I think I may have
screwed myself over with #3

965
00:52:22,880 --> 00:52:27,800
already.
Robert Yeah, this is your final

966
00:52:27,800 --> 00:52:30,440
chance to lock it in.
I mean, I've got my winnings.

967
00:52:30,520 --> 00:52:32,360
I don't care, man.
Tell me the tell me what

968
00:52:32,360 --> 00:52:39,080
happened, Bob.
Not only is #2 the falsehood, I

969
00:52:39,080 --> 00:52:41,520
have something to reveal to you.
Oh, what is that?

970
00:52:42,240 --> 00:52:45,520
I'm curious if you noticed
anything about this year's 2

971
00:52:45,520 --> 00:52:49,440
Facts and A Falsehood.
Were they all number two or

972
00:52:49,440 --> 00:52:52,360
something?
Fact number two was the

973
00:52:52,360 --> 00:52:54,360
falsehood every single week, was
it?

974
00:52:54,680 --> 00:53:00,160
Really.
I never noticed that.

975
00:53:01,680 --> 00:53:05,960
And the best part is you you
like edit these episodes 17

976
00:53:05,960 --> 00:53:10,600
times over, which means you
heard me say at least 80 times

977
00:53:10,600 --> 00:53:14,320
this this season.
That fact Noah Bob numbered #2

978
00:53:14,320 --> 00:53:17,120
was the falsehood.
I just want to point out that

979
00:53:17,120 --> 00:53:20,800
I'm looking at IMDb right now
and according to IMDb this movie

980
00:53:20,800 --> 00:53:24,680
has been remade 5 times not.
Wow, man.

981
00:53:24,680 --> 00:53:31,720
Oh well, as as always, I plead
the fact that at least one IMDb

982
00:53:31,720 --> 00:53:35,040
trivia fact on the dial in for
murder.

983
00:53:35,040 --> 00:53:38,600
Page said 4 remakes.
I believe you.

984
00:53:38,680 --> 00:53:41,120
And what what that might be
going on is that one of the

985
00:53:41,120 --> 00:53:45,080
remakes is German.
Oh, OK.

986
00:53:45,840 --> 00:53:54,000
Dre M for Mord, the film that we
will be watching next week, no

987
00:53:54,000 --> 00:53:56,440
doubt about it.
That's my Let's make it a double

988
00:53:56,440 --> 00:53:58,680
pick right there.
Bob, how do you feel right now?

989
00:53:58,680 --> 00:54:01,480
You finished the season 18 and
14.

990
00:54:02,040 --> 00:54:03,880
I feel great.
That's enough for like, you

991
00:54:03,880 --> 00:54:09,000
know, the five seed in the East.
Yeah, I'll take it easily. 100%

992
00:54:10,480 --> 00:54:13,880
The Browns would have taken that
record in 10 of the last. 11

993
00:54:13,880 --> 00:54:15,640
years?
Yeah, exactly.

994
00:54:16,360 --> 00:54:18,480
Brad, I am so happy that you
liked this movie.

995
00:54:18,480 --> 00:54:21,480
I'm glad that we get to ride out
the season on a high note.

996
00:54:21,800 --> 00:54:25,040
And I want to talk a little bit
about Hitchcock here.

997
00:54:25,040 --> 00:54:27,920
I feel like we haven't really
talked a lot about the

998
00:54:27,920 --> 00:54:30,800
filmmaking technique of
Hitchcock in these five movies,

999
00:54:31,120 --> 00:54:33,440
partially because we've already
done it with his four most

1000
00:54:33,440 --> 00:54:36,680
famous films.
But what really stuck out to me

1001
00:54:36,680 --> 00:54:41,440
this time during COVID.
I watched a ton of Hitchcock

1002
00:54:41,440 --> 00:54:43,000
movies.
I just kind of was like, I want

1003
00:54:43,000 --> 00:54:45,560
to start watching some movies
and fill in some blind spots.

1004
00:54:45,960 --> 00:54:48,280
And Hitchcock seemed like the
perfect film maker to do that

1005
00:54:48,280 --> 00:54:52,680
with because his movies, they're
not formulaic, but you know

1006
00:54:52,680 --> 00:54:55,080
you're going to get an
entertaining movie every single

1007
00:54:55,080 --> 00:54:56,600
time you throw out a Hitchcock
movie.

1008
00:54:56,720 --> 00:54:59,880
Some work better than others,
but I was shocked at how many of

1009
00:54:59,880 --> 00:55:02,520
his films from the 30s all the
way through to the early 70s

1010
00:55:02,920 --> 00:55:06,840
still work really well.
And yet you hit this period in

1011
00:55:06,840 --> 00:55:10,400
like the late 50s, early 60s,
where he is at the absolute top

1012
00:55:10,400 --> 00:55:15,640
of his game and he just decides,
I'm going to play around with

1013
00:55:15,640 --> 00:55:18,960
genre, I'm going to play around
with form, I'm going to do

1014
00:55:18,960 --> 00:55:23,200
things with the structure of my
movies that haven't ever been

1015
00:55:23,200 --> 00:55:25,280
done before and certainly
haven't been done by me.

1016
00:55:25,600 --> 00:55:28,360
And so you get movies like
Psycho where the protagonist is

1017
00:55:28,360 --> 00:55:30,160
murdered 1/3 of the way into the
movie.

1018
00:55:30,440 --> 00:55:33,560
You get films like Rope.
And dial in for Murder where the

1019
00:55:33,560 --> 00:55:36,200
bad guy is revealed in the 1st 5
minutes of the film.

1020
00:55:36,600 --> 00:55:39,800
He made a great movie with Henry
Fonda called The Wrong Man,

1021
00:55:39,960 --> 00:55:42,800
which is shot like a
documentary, like it's a crazy

1022
00:55:42,800 --> 00:55:44,160
movie.
It's really, really good.

1023
00:55:44,440 --> 00:55:50,120
But I can't think of many major
Hollywood film makers that this

1024
00:55:50,120 --> 00:55:54,240
late into their careers started
not only making masterpieces

1025
00:55:54,240 --> 00:55:58,000
again, but completely changing
up the type of movies they made.

1026
00:55:59,560 --> 00:56:01,880
Don't you feel like directors
get, like, get bored by the end

1027
00:56:01,880 --> 00:56:05,240
of their career, though?
That's what we can account.

1028
00:56:05,240 --> 00:56:06,840
Like that's what Scorsese's
doing now.

1029
00:56:06,840 --> 00:56:08,160
He's like, you know what?
I can't.

1030
00:56:08,160 --> 00:56:10,920
I can't go out without making
eight more masterpieces.

1031
00:56:11,320 --> 00:56:13,920
Yeah, and I'm just bored.
And I'm going to mess with, you

1032
00:56:13,920 --> 00:56:17,320
know, form and function and
genre, and we're just going to

1033
00:56:17,320 --> 00:56:21,080
have a good time with it.
Daniel, I actually decided to

1034
00:56:21,080 --> 00:56:23,960
include this as a segment in the
podcast because of something I

1035
00:56:23,960 --> 00:56:25,840
read on your Twitter page the
other day.

1036
00:56:26,600 --> 00:56:31,280
And you had said that you just
got done seeing the new Wes

1037
00:56:31,280 --> 00:56:35,840
Anderson shorts on Netflix and
that they have cemented for you

1038
00:56:35,840 --> 00:56:37,520
that you are a fan of Wes
Anderson.

1039
00:56:37,520 --> 00:56:39,680
But specifically early Wes
Anderson.

1040
00:56:40,800 --> 00:56:42,680
And I could not agree more
strongly.

1041
00:56:42,680 --> 00:56:46,120
I think that that his movies
have all been kind of colossal

1042
00:56:46,120 --> 00:56:50,400
failures in the last 5-6 years,
but it's because he is so

1043
00:56:50,720 --> 00:56:54,760
nakedly only interested in
playing with form at this point.

1044
00:56:54,760 --> 00:56:57,400
Like he.
He's more interested in the

1045
00:56:57,400 --> 00:57:00,680
experiment of the movie than the
movie itself.

1046
00:57:01,160 --> 00:57:05,360
And I think like, if I can kind
of, you know, shoehorn a

1047
00:57:05,360 --> 00:57:07,920
compliment in there.
He's the only filmmaker I can

1048
00:57:07,920 --> 00:57:10,800
think of that's doing the same
kind of thing Hitchcock did,

1049
00:57:10,800 --> 00:57:14,360
where 20 years in, he's deciding
I'm just going to make something

1050
00:57:14,360 --> 00:57:17,520
completely new.
But with Hitchcock, it produced

1051
00:57:17,520 --> 00:57:20,080
the best films of his career,
and I don't think that's the

1052
00:57:20,080 --> 00:57:23,680
case with Wes Anderson.
Asteroid City didn't didn't

1053
00:57:23,680 --> 00:57:28,440
quite land for you, Bob.
Did not do it for me, Brad, but

1054
00:57:28,440 --> 00:57:31,080
that but that our boy
Thanksgiving in it.

1055
00:57:32,200 --> 00:57:34,360
That's true.
Daniel, I'm wondering if you

1056
00:57:34,360 --> 00:57:37,400
could just like respond to the
Hitchcock thing, respond to the

1057
00:57:37,400 --> 00:57:39,200
Wes Anderson thing.
I just really love to hear your

1058
00:57:39,200 --> 00:57:41,280
thoughts on this.
Yeah.

1059
00:57:43,000 --> 00:57:44,400
Wow.
I mean, you're you.

1060
00:57:44,400 --> 00:57:46,120
Really.
Yeah.

1061
00:57:46,120 --> 00:57:48,880
So I mean, as you said, I I had
just watched the new Netflix Wes

1062
00:57:48,880 --> 00:57:50,680
Anderson shorts the other day
and was tweeting about them that

1063
00:57:50,680 --> 00:57:51,880
I was really disappointed by
them.

1064
00:57:52,600 --> 00:57:57,760
With Wes Anderson, I think it's
that his early films are all

1065
00:57:57,760 --> 00:58:03,560
about ocean and family trauma,
and his later films aren't

1066
00:58:03,560 --> 00:58:07,320
driven by emotion at all.
They're driven by his ideas of,

1067
00:58:07,760 --> 00:58:10,160
like you said, how he can push
for him and what new things he

1068
00:58:10,160 --> 00:58:13,560
can try.
And that's just far less

1069
00:58:13,560 --> 00:58:15,320
interesting to me, especially
because.

1070
00:58:15,840 --> 00:58:18,240
With Wes Anderson, you can
always tell how hard he's trying

1071
00:58:18,240 --> 00:58:22,760
anyway, and so you need that
emotional valve to sort of like

1072
00:58:24,240 --> 00:58:27,280
cut the intentionality of the
visuals.

1073
00:58:29,040 --> 00:58:33,160
With Hitchcock, you know, I
mean, obviously cinema, this

1074
00:58:33,160 --> 00:58:37,280
isn't, this isn't a grand idea,
but the cinema was obviously

1075
00:58:37,280 --> 00:58:39,480
very different in the mid 20th
century than it is now.

1076
00:58:39,880 --> 00:58:43,360
Fewer things have been tried, so
I think it was easier to say.

1077
00:58:43,880 --> 00:58:48,680
I'm going to try new things now
and actually have a path to go

1078
00:58:48,680 --> 00:58:51,600
where you don't have to
sacrifice what it is you've

1079
00:58:52,000 --> 00:58:54,160
you've always been good at.
I think that's good.

1080
00:58:54,720 --> 00:58:57,760
I really agree with that.
I think that what Hitchcock is

1081
00:58:57,760 --> 00:59:02,880
ultimately pushing with a movie
like this is how far can I take

1082
00:59:02,920 --> 00:59:05,840
my theories on what makes
suspense?

1083
00:59:06,600 --> 00:59:09,560
Like, you know, Brad, you've
talked about the Tarantino quote

1084
00:59:09,560 --> 00:59:11,760
of like, pulling the rubber band
to the point.

1085
00:59:12,120 --> 00:59:14,640
Where it's about to break, but
you still have the tension in it

1086
00:59:14,640 --> 00:59:19,160
and and when it snaps is when
chaos ensues and Hitchcock is

1087
00:59:19,200 --> 00:59:20,800
obviously the master of
suspense.

1088
00:59:20,800 --> 00:59:25,760
But a movie like this is a
sustained exercise in, you know,

1089
00:59:25,840 --> 00:59:29,080
all the information from
essentially minute one as the

1090
00:59:29,080 --> 00:59:32,440
audience.
And that's why I love Rope and

1091
00:59:32,440 --> 00:59:36,640
Dial Em for Murder, because the
guy manages to construct an

1092
00:59:36,640 --> 00:59:40,800
entire movie.
Around one big set up and draw

1093
00:59:40,800 --> 00:59:44,680
suspense from it for 90 minutes.
Tarantino has one film left

1094
00:59:44,680 --> 00:59:47,880
right in his.
In his ten that's that's what he

1095
00:59:47,880 --> 00:59:50,080
says.
Yeah, that's what he says.

1096
00:59:50,320 --> 00:59:55,080
I would love to see a Tarantino
remake of Dial M for Murder

1097
00:59:56,840 --> 01:00:00,760
'cause it would end in a
bloodbath, but it would still

1098
01:00:00,760 --> 01:00:04,880
end with John Cleese combing his
mustache.

1099
01:00:04,880 --> 01:00:07,760
But he'd be combing blood out of
his mustache, and it would be

1100
01:00:07,760 --> 01:00:09,680
incredible.
I can see it.

1101
01:00:10,320 --> 01:00:13,840
So I'm happy you brought up
Tarantino, because an idea about

1102
01:00:13,840 --> 01:00:17,480
Tarantino that I've always loved
is Chris Ryan of The Ringer once

1103
01:00:17,480 --> 01:00:20,520
said on a podcast.
I want to say it's when they

1104
01:00:20,520 --> 01:00:22,880
were reviewing The Hateful 8,
but I might be getting that

1105
01:00:22,880 --> 01:00:26,080
wrong.
But he said that his favorite

1106
01:00:26,080 --> 01:00:29,040
thing about Tarantino is the way
he can.

1107
01:00:29,760 --> 01:00:35,400
Dramatize the the transferral of
power within a conversation.

1108
01:00:36,400 --> 01:00:39,320
So you think of like the
basement bar scene in Inglorious

1109
01:00:39,320 --> 01:00:45,560
Basterds, or the conversations
in Reservoir Dogs, or The Bride

1110
01:00:45,560 --> 01:00:49,440
and Bill, you know, sitting at
his table talking as Bill is

1111
01:00:49,440 --> 01:00:51,720
telling the story about his
daughter squashing the fish.

1112
01:00:53,120 --> 01:00:56,040
And in a way, Dial In For Murder
does that same thing, is it's

1113
01:00:56,040 --> 01:00:59,560
about the changing of power
within a conversation that you

1114
01:00:59,880 --> 01:01:02,640
for the whole movie.
You think Tony has the power,

1115
01:01:02,640 --> 01:01:05,120
and even when he gets asked
these questions that he can't

1116
01:01:05,120 --> 01:01:07,480
possibly have a good answer to,
he does, and he retains the

1117
01:01:07,480 --> 01:01:09,840
power.
Until then, he doesn't.

1118
01:01:10,920 --> 01:01:14,240
I think the real question here
is would Christoph Waltz be

1119
01:01:14,240 --> 01:01:18,160
playing Tony or the Inspector?
Oh.

1120
01:01:19,280 --> 01:01:22,400
I think the inspector, because I
can't imagine Christoph Waltz

1121
01:01:22,480 --> 01:01:24,600
turning down the opportunity to
comb a moustache.

1122
01:01:25,000 --> 01:01:28,120
Exactly.
It's yeah, if Eddie would pull

1123
01:01:28,120 --> 01:01:32,320
out, it's like, yay big.
Yeah, the size of the pipe.

1124
01:01:32,560 --> 01:01:36,400
Glorious bastards, right?
If there's a character that can

1125
01:01:36,400 --> 01:01:40,960
be described as impish or
persnickety, like it's Christoph

1126
01:01:40,960 --> 01:01:43,120
Waltz is gravitating towards
that character.

1127
01:01:43,560 --> 01:01:45,560
Yeah.
Man Christoph Waltz.

1128
01:01:46,680 --> 01:01:49,880
We need to do it.
Tarantino, please remake this.

1129
01:01:49,880 --> 01:01:54,960
Even if it's like 10 B, like you
make like an 85 minute remake of

1130
01:01:54,960 --> 01:01:57,160
this and it and you just
consider it not even a full

1131
01:01:57,160 --> 01:01:59,320
movie.
Like, please give that to us,

1132
01:01:59,320 --> 01:02:00,720
because that would be
incredible.

1133
01:02:01,040 --> 01:02:02,640
All right.
Before we get to our last

1134
01:02:02,640 --> 01:02:04,880
segment of the day, which we're
kind of already dipping our toes

1135
01:02:04,880 --> 01:02:08,160
in, I do want to talk really
briefly about the fact that this

1136
01:02:08,160 --> 01:02:11,040
movie was an early experiment in
3D.

1137
01:02:11,280 --> 01:02:15,800
This was a 3D movie, one of the
first from what I can tell,

1138
01:02:15,800 --> 01:02:18,720
because, you know, television
had really taken over the

1139
01:02:18,720 --> 01:02:21,440
mainstream consciousness.
Theaters are trying to find ways

1140
01:02:21,440 --> 01:02:24,640
to get people back in, you know,
in their seats in the theater.

1141
01:02:24,920 --> 01:02:27,600
And so they introduced super
wide screen formats.

1142
01:02:27,600 --> 01:02:30,680
And, you know, they had all
these gimmicky things like smell

1143
01:02:30,680 --> 01:02:33,560
O Vision or smell O Rama, where
they would release different

1144
01:02:33,840 --> 01:02:36,280
gases into the theater that
you're supposed to smell at

1145
01:02:36,280 --> 01:02:39,600
different parts of a movie.
And one of the gimmicks was 3D.

1146
01:02:40,200 --> 01:02:43,120
And you can still see some
elements of the 3D in this

1147
01:02:43,120 --> 01:02:44,920
movie, Brad.
Like there are, there are

1148
01:02:44,920 --> 01:02:48,520
specific shots where it just
doesn't look right.

1149
01:02:48,520 --> 01:02:50,240
It looks like something's
misaligned.

1150
01:02:50,240 --> 01:02:52,240
There's like a lot of fuzziness
going on.

1151
01:02:52,600 --> 01:02:54,720
And I think those are kind of
clearly the moments where they

1152
01:02:54,720 --> 01:02:56,560
were experimenting with early
3D.

1153
01:02:56,760 --> 01:03:00,920
Yeah, when Tony has told his
wife to go along with his story

1154
01:03:00,920 --> 01:03:04,600
about why she didn't call the
police and you know, I'm just

1155
01:03:04,600 --> 01:03:07,880
going to call him John Cleese.
When when John Cleese is, like

1156
01:03:07,880 --> 01:03:11,720
asking her that question and
Tony's walking behind the the

1157
01:03:11,720 --> 01:03:16,200
Chief Inspector, like just the
way the camera focuses there,

1158
01:03:16,200 --> 01:03:19,120
you're like, something's not
quite right here.

1159
01:03:19,280 --> 01:03:22,160
I don't know what it is, but
something's a little off.

1160
01:03:22,840 --> 01:03:24,280
Well, I also read about the 3D
thing.

1161
01:03:24,280 --> 01:03:27,400
I was curious, I couldn't find
out is it even possible to see

1162
01:03:27,400 --> 01:03:29,720
the 3D version?
I assume it doesn't exist

1163
01:03:29,720 --> 01:03:33,520
anymore.
Warner's actually released a 3D

1164
01:03:33,520 --> 01:03:37,240
Blu-ray of it back in like 2012.
Like back when they remember

1165
01:03:37,240 --> 01:03:41,120
when they were making 3DT VS for
a hot second after Avatar you

1166
01:03:41,120 --> 01:03:44,240
can get a 3D Blu-ray of this
movie.

1167
01:03:46,040 --> 01:03:48,560
I've heard the 3D sucks because
like all they used it for was

1168
01:03:48,560 --> 01:03:51,960
like desk lamps and stuff.
I was going to say you can.

1169
01:03:52,120 --> 01:03:53,720
You can kind of see it in a few
shots.

1170
01:03:53,720 --> 01:03:55,600
Yeah.
It gets like, real fuzzy, right?

1171
01:03:55,600 --> 01:03:56,880
Like, it doesn't.
They just don't look.

1172
01:03:57,400 --> 01:04:01,760
I just wonder, like, why was
this the movie chosen to be the

1173
01:04:01,760 --> 01:04:04,760
3D movie?
There's so little in this film

1174
01:04:04,760 --> 01:04:09,160
that is improved by having like
a a table lamp jump out at you.

1175
01:04:09,200 --> 01:04:10,640
You know what I mean?
I just don't get it.

1176
01:04:11,440 --> 01:04:14,320
Yeah, I mean, it's the 50s, man.
I I, I don't think anybody knew

1177
01:04:14,320 --> 01:04:18,480
what they were doing like like a
stage play.

1178
01:04:18,560 --> 01:04:21,240
Essentially they're like, you
know what we're going to make

1179
01:04:21,240 --> 01:04:25,760
into three DA stage play where
guys walk around and talk.

1180
01:04:26,520 --> 01:04:30,520
It's going to be thrilling.
We couldn't get 3D on bridge on

1181
01:04:30,520 --> 01:04:32,920
the river Kwai when the bridge
blows up, but we could get it.

1182
01:04:32,920 --> 01:04:34,520
Here.
No, no, not at all.

1183
01:04:35,960 --> 01:04:38,600
Daniel, did you notice the 3D at
all in the movie?

1184
01:04:38,600 --> 01:04:40,520
Like I, I'm wondering what your
impressions were.

1185
01:04:40,680 --> 01:04:43,640
I didn't at all.
It wasn't until I was, you know,

1186
01:04:43,680 --> 01:04:47,960
after I watching, I read the on
a chapter in my Hitchcock the

1187
01:04:47,960 --> 01:04:51,960
Foe book to see a little bit
about the of a talk making a 3D

1188
01:04:52,880 --> 01:04:54,080
and that really took me by
surprise.

1189
01:04:54,080 --> 01:04:56,600
But then think about it.
It's a movie where?

1190
01:04:57,200 --> 01:05:00,840
Small objects in people's hands
are so important, and so I

1191
01:05:00,840 --> 01:05:04,680
wonder if three day if 3D was a
way to accentuate the audience's

1192
01:05:04,680 --> 01:05:08,440
visualization of what's objects
moving from place to place.

1193
01:05:09,280 --> 01:05:12,640
I think that's a great point.
Yeah, beautiful pair of nice

1194
01:05:12,640 --> 01:05:15,600
gleaming scissors being stabbed
into a man's back.

1195
01:05:16,080 --> 01:05:21,960
I will say once again, like for
as much violence as he was

1196
01:05:21,960 --> 01:05:25,640
allowed to show.
The scene of her being choked

1197
01:05:25,680 --> 01:05:31,160
and him getting stabbed is not
the easiest thing to watch.

1198
01:05:31,160 --> 01:05:32,680
It is.
It's quite violent.

1199
01:05:32,680 --> 01:05:36,440
He falls over backwards onto a
pair of scissors sticking out of

1200
01:05:36,440 --> 01:05:38,880
his back, and you see them push
in farther.

1201
01:05:39,400 --> 01:05:41,200
I like.
Not even like fast.

1202
01:05:41,200 --> 01:05:45,000
It's like a nice slow, like I
audibly went like that was that

1203
01:05:45,920 --> 01:05:49,240
was gnarly, man.
You know, it's funny that you

1204
01:05:49,240 --> 01:05:51,960
point out the gleaming scissors
too, because Hitchcock actually

1205
01:05:51,960 --> 01:05:56,400
had a quote about the use of 3D
in the movie, because he wanted

1206
01:05:56,400 --> 01:05:59,200
the 3D on the scissors more than
anything in the whole movie.

1207
01:05:59,200 --> 01:06:03,160
He was like, this is the scene
after the first take where they

1208
01:06:03,160 --> 01:06:05,480
were watching back the dailies
from the 3D camera.

1209
01:06:05,480 --> 01:06:09,280
He said this is nicely done, but
there wasn't enough gleam to the

1210
01:06:09,280 --> 01:06:12,760
scissors and a murder without
gleaming scissors is like

1211
01:06:12,760 --> 01:06:15,120
asparagus without the
hollandaise sauce.

1212
01:06:15,280 --> 01:06:19,080
Tasteless.
What a quote, man.

1213
01:06:19,840 --> 01:06:21,800
Love that.
All right, guys.

1214
01:06:21,800 --> 01:06:24,320
I think we're in a good spot to
move into our last segment of

1215
01:06:24,320 --> 01:06:27,040
the day, which we call, Let's
make it a double.

1216
01:06:27,320 --> 01:06:30,720
We're near the end of the
episode, so thanks listening to

1217
01:06:30,720 --> 01:06:33,520
the film and whiskey show.
Let's favor another film with

1218
01:06:33,520 --> 01:06:34,960
this one, even if it's
struggling.

1219
01:06:34,960 --> 01:06:37,520
It's a final segment of the day.
Now let's make it a double.

1220
01:06:37,720 --> 01:06:40,040
Let's make it a double Is the
part of the show where we pick a

1221
01:06:40,040 --> 01:06:43,440
movie to pair up with this one
to make the perfect double

1222
01:06:43,440 --> 01:06:46,240
feature?
Brad, would you like to go first

1223
01:06:46,240 --> 01:06:47,760
or should we offer it up to our
guests?

1224
01:06:48,680 --> 01:06:50,360
Yeah.
Daniel, why don't you go ahead?

1225
01:06:51,120 --> 01:06:54,320
So I know you guys said at the
beginning that you weren't that

1226
01:06:54,320 --> 01:06:56,520
big fans of it, but one of my
favorite Hitchcock films is

1227
01:06:56,520 --> 01:06:58,520
Notorious.
And that's what I'd pair with

1228
01:06:58,520 --> 01:07:03,400
this one, because the most
famous shot Notorious is a long

1229
01:07:03,440 --> 01:07:08,880
zoom from Upstairs Downstairs to
a key in Grace Kelly's hand that

1230
01:07:08,880 --> 01:07:12,000
she's holding behind her back.
And I was constantly reminded of

1231
01:07:12,000 --> 01:07:15,280
that shot while watching Dial on
for murder, because there are so

1232
01:07:15,280 --> 01:07:18,560
many moments of close-ups on
people holding keys, and

1233
01:07:18,560 --> 01:07:20,280
especially people holding keys
behind their back.

1234
01:07:20,840 --> 01:07:23,880
And so I feel like those two
movies are Hitchcock, you know,

1235
01:07:23,880 --> 01:07:25,280
experimenting with the same kind
of thing.

1236
01:07:25,520 --> 01:07:27,880
Yeah, yeah.
They dovetail together perfectly

1237
01:07:27,880 --> 01:07:31,920
with that emphasis and just the
general vibes of the films,

1238
01:07:31,920 --> 01:07:35,000
these kind of crime, spy,
thriller.

1239
01:07:35,400 --> 01:07:36,760
Yeah, I think that's a great
pick, Daniel.

1240
01:07:37,200 --> 01:07:38,280
And sorry, I have to correct
myself.

1241
01:07:38,280 --> 01:07:40,000
I think I said it was Grace
Kelly holding a key.

1242
01:07:40,000 --> 01:07:41,640
And notorious it's actually
Ingrid Berkman.

1243
01:07:41,680 --> 01:07:42,880
Holding a key?
Yeah.

1244
01:07:43,440 --> 01:07:45,360
Brad, you're up, man.
What do you think?

1245
01:07:46,480 --> 01:07:48,960
You, you just want to save the
final.

1246
01:07:49,080 --> 01:07:50,480
Let's make it a double for
yourself.

1247
01:07:50,760 --> 01:07:52,120
I'll go next.
You want me to go next?

1248
01:07:52,160 --> 01:07:53,960
I don't care.
All right.

1249
01:07:53,960 --> 01:07:58,040
So with my pick, I think I'm
going to go more like, stay with

1250
01:07:58,040 --> 01:08:02,760
me here.
This movie reminds me of what

1251
01:08:02,760 --> 01:08:06,720
Scorsese did with Shutter
Island, where like, I don't

1252
01:08:06,720 --> 01:08:10,200
think many people would peg
Shutter Island as Scorsese's

1253
01:08:10,200 --> 01:08:13,080
best movie.
And it's funny to hear Scorsese.

1254
01:08:13,080 --> 01:08:15,680
He just did an interview with GQ
where he talked about Shutter

1255
01:08:15,680 --> 01:08:17,840
Island and basically like
dismissed the whole thing.

1256
01:08:18,359 --> 01:08:21,000
And I'm like Scorsese, like, you
don't even realize how good

1257
01:08:21,000 --> 01:08:24,399
Shutter Island is.
It is a perfect genre movie.

1258
01:08:24,399 --> 01:08:26,560
Like it could not have been
better.

1259
01:08:27,080 --> 01:08:28,680
And I think that's exactly what
this is.

1260
01:08:28,680 --> 01:08:31,560
And it's like, it is Hitchcock's
Shutter Island.

1261
01:08:31,600 --> 01:08:35,200
It's a it's an incredible
exercise in genre film making.

1262
01:08:35,640 --> 01:08:39,120
It may not have the layers to it
of a movie like Vertigo, it may

1263
01:08:39,120 --> 01:08:41,960
not be as celebrated as
something like Psycho or Rear

1264
01:08:41,960 --> 01:08:46,439
Window, but every once in a
while you just need to be made

1265
01:08:47,960 --> 01:08:51,120
assured that you're in a really
good pair of hands.

1266
01:08:51,120 --> 01:08:52,760
And that's what Hitchcock is
doing here.

1267
01:08:53,040 --> 01:08:55,520
And I think the same thing
happens when you watch Scorsese

1268
01:08:55,520 --> 01:08:56,720
do something like Shutter
Island.

1269
01:08:56,720 --> 01:08:58,560
So that's my let's make it a
double.

1270
01:08:59,240 --> 01:09:02,000
I love that pairing.
Yeah, Bob, I actually was

1271
01:09:02,000 --> 01:09:05,840
thinking about Shutter Island as
I was thinking about pairings

1272
01:09:05,840 --> 01:09:07,760
for this.
I came up with a better movie,

1273
01:09:07,760 --> 01:09:13,040
though I think that this pairs
perfectly with Double Indemnity.

1274
01:09:13,720 --> 01:09:17,760
Oh, just some really gnarly
murders back to.

1275
01:09:17,760 --> 01:09:22,600
I just think, I think that those
two movies back-to-back is the

1276
01:09:22,600 --> 01:09:30,760
perfect like gritty dark.
Really fun crime.

1277
01:09:30,920 --> 01:09:32,279
I just.
I think that would be an

1278
01:09:32,279 --> 01:09:35,720
incredible movie tonight, Bob.
Yeah, I mean, like I said, I

1279
01:09:35,720 --> 01:09:39,040
think the obvious pairing here
is Rope, but I'm really glad

1280
01:09:39,040 --> 01:09:42,040
that we branched off a little
bit from there and picked three

1281
01:09:42,040 --> 01:09:45,040
really, really good movies.
I guess if you wanted to, you

1282
01:09:45,040 --> 01:09:48,399
could make a 2B night out of it
because 2B is also streaming

1283
01:09:48,399 --> 01:09:52,040
Dial in for Murder and it's
remake A Perfect Murder.

1284
01:09:52,920 --> 01:09:55,160
The only thing is you have to
watch like 40 minutes of

1285
01:09:55,160 --> 01:09:56,560
commercials with both of those
films.

1286
01:09:56,560 --> 01:10:01,080
So yes, I listen.
I'm still I I will plug 2B till

1287
01:10:01,080 --> 01:10:03,920
the day I die.
There's nothing like a good free

1288
01:10:03,920 --> 01:10:08,240
movie that replicates the, like
Saturday afternoon cable

1289
01:10:08,240 --> 01:10:10,200
watching experience.
It's wonderful.

1290
01:10:10,280 --> 01:10:13,320
Yeah, 2B is great and
commercials don't bother me as

1291
01:10:13,320 --> 01:10:15,800
long as you know you're not
getting an edited version of the

1292
01:10:15,800 --> 01:10:19,560
movie in the way you used to.
Yes, 100%.

1293
01:10:19,840 --> 01:10:22,600
Although it is weird when you're
watching like a like an explicit

1294
01:10:22,600 --> 01:10:26,320
R rated movie to then go into
like a Dawn power Wash

1295
01:10:26,320 --> 01:10:29,120
commercial like it's very
jarring.

1296
01:10:29,120 --> 01:10:32,400
Sometimes there's there's a
little duck covered in oil being

1297
01:10:32,480 --> 01:10:36,360
like, bathed.
All right guys, let's give this

1298
01:10:36,360 --> 01:10:39,200
movie some scores.
I'll go first here.

1299
01:10:39,200 --> 01:10:41,720
I've been kind of teetering
between a nine and a nine and a

1300
01:10:41,720 --> 01:10:44,040
half.
I do think that the 1st 20

1301
01:10:44,040 --> 01:10:47,880
minutes are very slow, but
ultimately they're really

1302
01:10:47,880 --> 01:10:49,920
necessary to make the rest of
the movie work.

1303
01:10:50,360 --> 01:10:54,080
This is not a perfect film, but
it's pretty darn close to

1304
01:10:54,080 --> 01:10:56,840
working perfectly.
I'm going to give it a 9.5 out

1305
01:10:56,840 --> 01:11:00,040
of 10, Brad.
Yeah, you are, Daniel.

1306
01:11:00,040 --> 01:11:02,040
Where are you sitting at with
dial in for murder?

1307
01:11:02,640 --> 01:11:05,000
I I now think of everything in
terms of letterbox scores.

1308
01:11:05,000 --> 01:11:08,920
So I'm dealing with the five
star metric.

1309
01:11:08,960 --> 01:11:10,440
I'll.
I'll probably do a four out of

1310
01:11:10,440 --> 01:11:12,640
five, yeah.
All right.

1311
01:11:12,640 --> 01:11:15,640
So an an 8 out of 10, What?
What is keeping it from being

1312
01:11:15,640 --> 01:11:18,440
any higher in your book?
It might just be Hitchcock

1313
01:11:18,440 --> 01:11:22,400
himself, just the feeling of
like a 4 1/2 or five star

1314
01:11:22,400 --> 01:11:25,360
Hitchcock movie.
Just like it feels like it ought

1315
01:11:25,360 --> 01:11:29,040
to be earth shattering.
And so I don't know that I can

1316
01:11:29,240 --> 01:11:31,400
say that Dylon for murder is
earth shattering, though I

1317
01:11:31,400 --> 01:11:34,920
didn't really like it.
Yeah, I I think I'm kind of in a

1318
01:11:34,920 --> 01:11:38,160
similar place with you.
It's not earth shattering, but

1319
01:11:38,160 --> 01:11:42,600
man oh man was that a fun movie.
You get in and out under two

1320
01:11:42,600 --> 01:11:45,280
hours and you have an absolute
blast.

1321
01:11:46,400 --> 01:11:49,200
Yeah, with an intermission.
It's incredible.

1322
01:11:49,520 --> 01:11:52,440
I think the intermission itself
deserves 1/2 a point.

1323
01:11:52,480 --> 01:11:56,120
They're like that alone.
I feel that.

1324
01:11:56,720 --> 01:12:00,040
Oh man, Bob, I'm going to come
to a nine out of 10 on this.

1325
01:12:00,240 --> 01:12:03,840
I think it's incredible.
It's so much fun.

1326
01:12:04,080 --> 01:12:07,440
It's my highest rated Hitchcock
of these five and I think for

1327
01:12:07,440 --> 01:12:10,320
good reason.
Brad, what a way to cap off the

1328
01:12:10,320 --> 01:12:14,920
season A a very positive movie
score, a very positive whiskey

1329
01:12:14,920 --> 01:12:17,320
score.
We could not have asked for, you

1330
01:12:17,320 --> 01:12:20,600
know, a better closer here and I
think part of that is due to our

1331
01:12:20,600 --> 01:12:23,840
guest for the day, Daniel Zwyo.
Daniel, before we sign off,

1332
01:12:24,040 --> 01:12:26,120
please plug yourself.
Where can we find you and what

1333
01:12:26,120 --> 01:12:29,080
are you working on right now?
I'm at 3rd Man Movies on

1334
01:12:29,080 --> 01:12:31,920
Twitter.
I rent for a lot of places.

1335
01:12:31,920 --> 01:12:33,440
You can occasionally find me on
The Ringer.

1336
01:12:33,440 --> 01:12:35,560
You can occasionally find me on
Rodger Ebert.

1337
01:12:36,160 --> 01:12:39,200
Daniel, it is always a pleasure
to have you here, Brad.

1338
01:12:39,200 --> 01:12:42,160
Let's give a little bit of info
as we cap off season seven.

1339
01:12:42,160 --> 01:12:45,360
We're going to be back on Friday
to do what we've been doing with

1340
01:12:45,360 --> 01:12:47,920
all these directors.
We're going to score Hitchcock

1341
01:12:48,080 --> 01:12:52,320
on his ability to direct movies
on a 5 point numerical metric.

1342
01:12:52,720 --> 01:12:55,200
And then next week is when the
fun really begins.

1343
01:12:55,200 --> 01:12:57,120
Brad, why don't you tell our
listeners what happens next

1344
01:12:57,120 --> 01:12:59,640
week?
Baby, we have.

1345
01:13:00,320 --> 01:13:02,680
The bracket challenge coming
your way.

1346
01:13:02,920 --> 01:13:05,760
We're going to throw all 32
movies that we watched this

1347
01:13:05,760 --> 01:13:11,000
season into a bracket upon which
Bob and I are just going to 1 by

1348
01:13:11,000 --> 01:13:14,800
1 go through eliminating films,
throwing them into the fiery

1349
01:13:14,800 --> 01:13:18,120
furnace, never to be seen again
by either Bob nor I.

1350
01:13:19,280 --> 01:13:20,640
It's it's quite an exciting
time.

1351
01:13:20,760 --> 01:13:23,360
I mean, we do need to specify
there is a winner at the end.

1352
01:13:23,360 --> 01:13:25,720
We don't just destroy everything
and walk away.

1353
01:13:25,760 --> 01:13:28,360
Yeah, it's it's not a Coen
Brothers film.

1354
01:13:28,360 --> 01:13:31,360
No, we're we're going to crown
the champion of season seven.

1355
01:13:31,360 --> 01:13:34,640
So join us for that next week.
You can also find the brackets

1356
01:13:34,640 --> 01:13:38,040
on our Twitter, on our Discord.
And Brad, I think it's about

1357
01:13:38,040 --> 01:13:41,200
time we plug this Discord,
because Discord is a really

1358
01:13:41,200 --> 01:13:44,320
great place that we have
cultivated a heck of a

1359
01:13:44,320 --> 01:13:46,720
community, including film and
whiskey pets.

1360
01:13:47,240 --> 01:13:50,120
Yes, yeah, there's all sorts of
stuff that we're talking about

1361
01:13:50,360 --> 01:13:52,480
over on the Discord.
So if you want to join a

1362
01:13:52,480 --> 01:13:56,280
conversation with people that
you know and trust, and there's

1363
01:13:56,280 --> 01:14:00,160
no outsiders coming on and it's
just us, you can find a link to

1364
01:14:00,160 --> 01:14:02,440
our Discord at the end of every
single one of our show notes.

1365
01:14:02,440 --> 01:14:05,360
You can also find us on social
media on Facebook, Twitter,

1366
01:14:05,440 --> 01:14:10,320
Instagram, Tiktok or YouTube at
Film Whiskey, folks.

1367
01:14:10,320 --> 01:14:13,240
That does it for season seven.
We want to say thanks again to

1368
01:14:13,240 --> 01:14:14,560
our guest Daniels.
YO.

1369
01:14:14,680 --> 01:14:17,600
We will see you Friday for
scoring Alfred Hitchcock and

1370
01:14:17,600 --> 01:14:20,480
then next week again for the
bracket challenge.

1371
01:14:20,480 --> 01:14:25,280
But until then, I'm Bob Book.
I'm Brad G and we'll see you

1372
01:14:25,280 --> 01:14:25,840
next time.