The Tall Blond Man with One Black Shoe / The Man with One Red Shoe

We wait. Hey, Mike white it's Mike white May and we're recording now, just so we're all clear. Oh, thank you, thank you for telling me. Yes, you're welcome. So, Mike white May is the time of the year, similarly to You've Never Seen September when I turn the programming over to father and Malone in Mike white May and you and you never seen September.

Just to keep things interesting, No, Mike white May is programmed by you, Mike, and we haven't done on this show in a very long time. A series of episodes about two movies at a time. That is something that I used to do a very long time ago. Re I mean, I met you in twenty fifteen, but I did that from twenty fifteen to probably dang, I think twenty sixteen. Uh so one whole year too wild, two years and a half, an hour and a half.

I mean, here's the thing. Two movies a podcast is a lot on top of interviews for each movie, on top of I mean watching them, and then the assorted efemera as they would put it. But when you were like, let's do Francis Weerber films and the original films and the remakes I was like, sure, I not, and that's why we're here. Signed your own death warr I did. I looked death straight in the eyes and said, bring it on, baby.

So yeah, if you are clicking on this episode, you know that it is Mike White may over at the Culture Cast. I am still your host, Christashu, and I am joined by my good friend, the afore mentioned Mike White at the projection booth. Hello. Oh, sorry, I didn't realize that was my cue there. Okay, that's all good and all.

Uh, what's the My favorite French word is mird makes shit sound way more fun than just saying shit you really? Yeah, sure is and a lot of ass and a lot of butt a lot of lot of buttocks in this movie. And also joining us all the way from Dark Destinations Midnight Viewing, which is now a weekly podcast, folks, and you can find it over at weirdingwaymedia dot com. Your friend and mine father Malone, their Air, dearI Air, And on this episode of the Culture Cast, if you don't know what we're talking about, we're talking about the tall blonde man with one black shoe in French. You do it in French, I don't have it in front of me.

I would definitely mangle it. It's a la avec moiss on Charisse noir. I think I mud. I probably miss one or two words in there, and then we'll also be talking about the nineteen eighty five film, which is in English, The Man with One Red Shoe. Why is everyone looking for Tom Hanks disgusting thing?

Oh? Come on, maris there? He is because he was in the right place at the right time, in the wrong shoe. Now double agents are fascinated by him. Why the one red shoe?

Beautiful women are attracted to him? I knew it was you. Can you please just step aside? You're now? Yeah, I hope you and complete strangers are knocked out by his charm.

Something wrong? No mo, he seemed tense. I did pass out today and got him head by a bass bine. Then brush my teeth with shampoo. I'm a close film a point, but no I'm not.

I'm not tanned. You need to relax and I'm going to help. Not that you're falling for this guy. How do you like that? Are you an agent?

No, but I used to have an agent. Are you a spine? Of course, I'm no more spine than you're a spine one, Tom Hanks, Dabney Coleman, Laurie Singer, Charles Durning, Carrie Fisher had Jim Belus in this Summer's most hilarious comment, that's one step ahead of the rest of the Man with One Red Shoe before we get into the movies, both of them. Why are we talking about Francis berber films, Mike Well, So, I don't even remember how long ago we did the film Buddy Buddy over on the projection booth, and I went back and I watched the original version of that well, which was called A Pain in the Ass or I don't remember what the French title was. But as I'm looking at Francis Weber's filmography, I was completely blown away because I was not familiar with his work, but I was, But I wasn't, but I was.

So I just was so intrigued that this guy has done so many screenplays as directed well what a dozen films, but he's done like forty eight screenplays, right, and almost every single one has been remade multiple times, either in the US or in other countries. And so I was just intrigued. So I had a whole list of all of these movies that I wanted to watch. Mike, Wait, May came about, and I said, here we go. Here's my opportunity to sit myself down, force myself to watch these and hopefully hopefully share the pleasure with one of my best friends, Chris Tassue.

Whoa that title you were looking for, Mike is lem Oh, okay, yeah. And and for you, father Malone, since you asked, it's Le grand Blonde alvec un chasieur noir. So there you go, loubly. Yeah. Uh, not to be confused with the second film, The Return of the Man with the Tall Blonde Man with one Black Shoe, which we will not be talking about.

And to Francis Erber's point, I watched it. I mean, I guess, I guess, I guess we can talk about it. But I was more to make the joke about Francis Verber just going it wasn't a good movie. I made it for the money, which you know, I mean, being self awares is always is always funny, at least for me for a director to go, yeah, it sucked, but it was for the money. So Mike, you kind of laid out why we're doing Francis Berber films this year for Mike white May.

But why are we doing these two films or this one film? In the remake in particular, I wass asking you this question every year, so I hope you're prepared well with this one. It was one of the first once he is not directing this, This is Eaves Robert, I guess you would pronounce that. And this is the one right before A Pain in the Ass. And like I said, this one is one of the early ones he had only I think he had adapted his own plays.

He had done a TV episode, and I think he had done some adaptation of stuff, but this was really his first big screenplay, and from what I understand, it was a pretty big hit as well. And so yeah, I wanted to start at the beginning because that's what I like to do. And then we had to do the Man with One Red Shoe because I wanted to compare how the French versus the Americans handled this topic. And hey, the director of the film is in the movie. Eves Robert is in I guess he's in both the original and the sequel, but in the original he's I think he's a waiter, is what he is.

Or he's a chef. He's a very pronounced looking man with a big afro and a nice slick mustache. So yeah, on this episode of the Culture Cast, we're going to be talking about the tall blonde Man with One Black Shoe and the American remake, The Man with One Red Shoe. I think he was the conductor of the orchestra. Is that what it was?

Okay? I couldn't remember, but I just think kept cutting to a guy and then I saw his picture. I was like, Oh, that's him, which is fun. But yeah, like we've kind of alluded to, that's what we're going to be talking about on this episode of the Culture Cast. I'm not going to run down both movies separately, because we're going to probably just run him down together.

But Michael, kick it to you first and then follow him alone after. What did you think sitting down to watch the original and the remake? I freaking loved the original. I had never seen it before. I was laughing my ass off the other night while I was watching this, just having such a fun time.

I don't think I've ever seen Pierre Richard in anything else, but he was so good in this. As fran Soip heron and apparently that name comes up multiple multiple times. It's like there's two names that Weber uses consistently. Parentes is one of them. I just had such a good time with this movie.

I hope that you guys did as well. And I will tell you I saw The Man with One Red Shoe back when it was out, so I was thirteen years old. Yeah, that's the math on that I didn't really appreciate it when I was thirteen watching it this time, after having just seen The tall blonde Man with One Black Shoe, still wasn't into it. I still couldn't get into it. And what's funny is that it's so similar.

There were so many scenes where it's just one scene repeating the other, and I just, I don't know if it was just Tom Hanks hadn't found his footing yet and I didn't find Lori singer to be impelling. But yeah, even with this amazing cast, it just did not hit home. So I apologize for that one. Unless you liked it a lot. In that case, great, But those were my impressions.

Uh, mom, diul malone. Not the first time I've seen both of these movies. I saw The Man with One Rich Shoe in the theater when it came out, and then I saw it one fucking hundred thousand times on HBO because it was one of those movies that was just on at all times, So if the TV was on, probably the movie was on and just in the background. Even when I moved to Los Angeles, there was there was and continues to be a fantastic video star called Vidiots, and they had a comparative section in there where I realized that The Toy was a remake and Three Fugitives was a remake. And I mean I knew that The Man with One Rich Shoe had been a remake.

Yeah, I had read or somewhere seen that it had been, but I had never seen it before. So that was my first introduction to that movie. I haven't seen either pretty much since then, which is, like, you know, thirty years. I guess I loved The Men with the One Rid Shoe. I did not appreciate the Tall Blonde at the time.

I appreciated it so much more this time. However, I'm one of those people who you're saying great for here, Mike, because I think that The Man with One Red Shoe is a superior flick. Whoa, that is a socker blue moment. Baby. Uh wow, Well, I'm not going to have that hot of a take.

If it's a hot take at all, I mean, I don't think, oh my god, news has been made. He has an opinion about a movie from nineteen eighty five that nobody's talking about right now, and it has Tom Hanks in it too. On top of everything else, it has Tom Hanks in it. I find that to be an interesting take, Father Malone, only because I find that the line that separates the two movies is very thin. It is a very thin line in terms of the Man with One Red Shoe being a remake.

I mean, it's like, in a lot of ways, not shot for shot, but like true beat for beat, a remake, which I'm not going to say makes this episode difficult, but it makes it a little difficult to keep the two movies separate because for the most part, they're doing the exact same thing outside of a couple beats that are a little different. I would say a couple beats that have been softened for an American audience, namely the namely the kind of climax of the movie, which I think for me works better in the original, and then in the remake it's like, where are the stakes here? I mean, I get it, and I know that. I know that again, not having characters die, not having characters being killed not something that it's not a matter of American audience is finding it palatable.

But it's a Tom Hanks movie. It's not trying to do anything necessarily super interesting with what it's been given, which is a shame because I think it does kind of rob the later parts of the movie of some of the impact. But at the end of the day, it's a comedic film that is about a guy who is having an entire situation put upon him of no fault of his own, literally because of other people fucking around with his clothing that he is then noticed by, you know, the the intra agency people that he's noticed by, and he's kind of put upon with this entire facade that they, you know, kind of create around him, thinking he's one way but he's another. So I mean, both movies are very similar. That's the problem.

Like, I don't I'm actually, you know, I might even walk it back a little bit. Fathering alone. I don't think your take is that hot. I think if you're an American, it makes sense to watch The Man with One Red Shoe because it has fucking Tom Hanks in it, not to say Pierre Richard doesn't and ed Herman right, I mean it, and Dabney sure, and it's like the cast is fucking killer and that Dabney, it's the Coleman cast. Baby, we're doing it right here.

Mike there, Yeah, you made it happen, But that I mean that for me, I think is kind of the hurdle. The hurdle to try to get an American audience to watch the French film. Obviously, we've talked about this a million times. The goddamn subtitles are going to rub a stumbling black availability is another one, But I think they're close enough that you could make the case where you'd be able to watch either one and get the gist of the story. I think for me, I resonated with the French one a little bit more, only because I preferred the humor in that movie over the humor in the American remake.

And I think that that's, if anything like that might be. The one big difference between them is just the way that they employ comedy and the use of comedy because again, like it's the French one is a little bit more I wouldn't say blue, but it's playing less safe than the American one does, and the American one's playing it safe, but at the same time, I mean, it's trying to stay true to the source material. So I enjoyed both of them. I will say though, the one that I watched again for the third time by choice was the original, just to reassess my kind of thoughts on it. But I watched each of them twice up until that point, and I wouldn't say either is a slog.

I think they're both fine. They're both of a breezy hour and a half. But I'm excited to talk about them. But yeah, this is a weird Tom Hanks movie. Is kind of my big takeaway because, like you said, Mike, he's not Tom Hanks yet, like not the way that not the way that I kind of perceive.

And I mean, we Father Malone. We talked about a nineteen eighties Tom Hanks comedy a couple of years ago. Now, right, movie that came out two years later. Oh well, he's gonna talk about Dragnet uh oh yeah, and mazes and monsters we were all overheating. Yeah, Mazes and Monsters was actually that was last year when we did Tom Hanks You Weary for February, which this didn't come up, but we did Volunteers, which came out after this, and then Yeah, I'm gonna skin you.

I'm gonna use the shin bone as a pencil box and we Yeah, we also did The Birds, which was fantastic. But for me, like I guess, I don't know, maybe Tom Hanks doesn't hit his stride in the eighties until Dragnet, because I watched Volunteers and this is better than Volunteers, that's for sure. That is a rough movie to get through. This movie at least hangs together like a film. Volunteers really didn't.

But for me, I think the big big thing I walked out of the movie was was, man, if only they had gotten Tom Hanks like two years later or three years later and he had kind of really become that actor that he is now that so many people talk so highly about because he's a fantastic actor and deserves it. But you said that all of this stuff has put upon him. But what I like is that there is this level of I mean, it's almost like Joseph K type persecution. And you know, we pick a literally pick a random person out of a crowd of people coming in at an airport and suddenly say he's the secret agent, just to set these agents, you know, to trap one agent within the other one and just all of this like double crossing and all these things.

And it's all spy versus spy kind of stuff with poor Pierre Richard right in the all. But what I also enjoy is that he's got his own, like many conflicts going on with sleeping with his best friend's wife. They're all in an orchestra together. I'll just call Pierre Richard plays the violin, the woman Paulette plays the harp, and his buddy Maurice plays the timpany, and there's all of that conflict there. I love the first time that they're playing together and you know, they keep missing cues, and the way that he brings his bow of his violin.

I mean, there's a lot of sight gags in here. He's not as out there as like a Jerry Lewis or even a Tati, but I like that he's very physical, but not overly so, but he really can carry himself very well, and that was the thing. I think that Hanks just wasn't quite there yet with the with the physical comedy that he's able to pull off now, or was able to pull off throughout so much of his career. But I love that the situation with the Spies exacerbates all of the stuff that's going on him his own little personal world, and all of his little you know, foibles that he's got are just made so much bigger. Let me address some of the things you said, Chris about the sort of differences between the shows, because I agree one hundred percent that the line between what makes your preference for either of these movies is incredibly thin.

Right, Yes, what ultimately does it for me is the American one that has the benefit of having the film made and the screenplay to draw from. But I think some of the situations they made a lot funnier. There's the bit in the end where like there are two sets of assassins basically in his apartment to end up killing each other in the In the French one, it's just they just kill each other instantly, all four guys dead, and it's like, there are four guys dead in your apartment, and then that's it, whereas in the American one they turn it into a bit more business, but they leave tom noonan alive and then there's a thing with me Coleman outside. Like that all felt more contained to me and the others, and like the ending.

Actually not to jump to the ending spoilers everybody, but like I liked that Charles Derning got his as well. Maybe that's an American point of view, and I want somebody punished here. But Jean Rochefort just sort of like walking away scott free, not only walking away scott free, but basically becoming the hero of the sequel kind of doesn't sit well with me. These fuckers who just pluck this one guy out of you know, out of a crowd and turn his life upside down and don't give a shit about any of it. Like, I want some recompense there, and the American movie gives me that.

The other thing the American gives me. American movie gives me is the steaks that you mentioned there are. To me, there are zero stakes in the French film. That movie is a farce. It is a slap sticky comedy where I don't feel like anyone is actually in danger.

Whereas throughout the American one, I feel like tons of people are in danger, they waste everybody, and it seems more vicious in the French one. The French one's sort of light and frothy. I think there's a dark undercurrent with the American one. The sort of the deep distrust of the government that's sort of like spilled over from the seventies kind of informs the American one. That's kind of what tipped me over over to that one.

But that doesn't mean that the fucking French film isn't a gem. And I also think these days, I think the subtitles are actually less of a thing. We're all watching screens with our fucking captions on, you know, all the time now, so it's a lot easier for people. So I think right now is the perfect time for people to go check out the French film. I mean, I agree, I mean, I agree with you just in general in terms of it's it's never been easier to broaden your film horizons, given that you can literally watch most things either dubbed or subtitled.

I'm not a dubbing advocate and never have been, never will be. But if it's the only way for you to see something, then you should fucking watch it if it's dubbed. I mean that I can't imagine dubbing would be the only way to see something. That would seem like the further step to take as opposed to just subtitling it. But to your point, father alone, like I watch everything with subtitles, I try to at this point, I can't.

I can't hear without my subtitles. So I'm with you. I think that that's a that's a pretty apt point, and I do agree with you in terms of I mean the to trust, the trust the distrust of the government is uh yeah, it's not as universal in the French one as it as it is. Like, I guess distrust of the government is an American thing, at least the way that I grew up in the nineties with X Files, which was like the distrust of the Government show. I mean that that show exists for it's in so many reasons A because of Colchak, but B because of the government's bullshit in the nineties with covering stuff up.

And so to your point, I guess I see where you're coming from. I just for me in terms of the French one, and you actually kind of kind of got out in front of it. The French one's good until you watch the sequel, and then the French one fuck. And I have a hard time with that original one as the sequel. The sequel makes no fucking sense because it undercuts the entire first movie, like the first five minutes and they're like, oh, well, now he knows that this is happening, and it's like and everybody's in on the joke, and it's like whoa what?

Like no, And to your point, we also have the character who should be getting his comeupp ince doesn't and then becomes the literal hero of the fucking piece, to the point where his story is kind of the one that concludes the film in the climax, hundred percent that yeah, the tall blonde guy is a minor player in the sequel. He's just there to get this character off the hook right to kind of YadA YadA away the first movie. But the first movie didn't need it, like we didn't need you to come back in and re contextualize the first movie. Like the first movie's fine. It's actually a really good movie.

It could have done like a US Marshall situation. Is just carried on with those characters and left the tall blonde man in Buenos Aires or wherever he was end Like he needn't have been a part of it at all, and it would have been that could have been a successful movie, a seventy two minutes successful movie. They just seventy two with credits. Yeah, the the she feels like she's barely in the movie in the second one, and I'm just like, well, she is such a great part of the first one, especially that black dress. But she's amazing.

I've never really seen Miriel Dark before that I'm aware of, and she shows up in a lot of these Fever films, some of the ones that we're not going to be talking about that he wrote, So I'm very curious to see more of her in every way possible. But yeah, I agree with you guys as far as the there is no come up and for our essentially he's one of the two bad guys, and I would say both of the main spies are the bad guys, and it's really Paul the person as Parache Pasha, who's kind of the second in command under the main spy. He seems to be the one who actually cares about Pierre Richard and wants to make sure that he comes out unscathed, which I thought was nice and I like his character a lot. But yeah, I think it's Jean as the Le Louis Marie Alphonse Toulouse.

Yeah, he's really developed. He and Bernard Blayer, who I think was also a director and directed some Veber stuff as well. Those two are the villains of the piece. And I'm glad when Billard dies, even though that's a pretty funny scene him getting sorry, but I really like that. And the guy who he gets the gun from, Jean Sodre Aste.

What a face, right, he's got this cartoon. Oh, he's amazing to look at him, just like, this guy is great, and the whole movie is filled with some really good faces, but his stands out well. And to your point, both of your points, like the American version and the French one, have amazing looking character actors. I mean you've already said it, father like look personally, Tom Newton and I not necessarily on the same page, but if you're going to hire someone who looks weird, Tom Newton's great. Edward Herman is also another like interesting looking guy.

I mean, there's tons of Carrie Fisher, Jim Jim Belushi, all distinct and unique looking people, just like Vanelle Lander in here in a oh yeah, useless scary Graham, Eric fucking Graham beat himself baby. You know, not only does the American ending satisfy me because the CIA chief gets his but more important, in the French film he's having the lead is having an affair with his best friend's wife. And at the end of the French film. Here's the thing. The American film feels vicious all the way through and then gives us a happy ending, whereas the French film feels like a happy like you know, trapes through the through the countryside and then gives us this really vicious ending as far as I'm concerned, where the husband is now catatonic on tranquilizers.

She's leading him around like a dog, and she intends to keep fucking the lead character on the side and like trapping him into it. He effectively has to escape from it, whereas at the at least Jim Belushi is in an asylum like getting some help at the end of the Man with One Red Shoe, Like, you know, I don't necessarily need her to feel bad or you know, like, I don't need a moral thing there, but I want that character to be okay. I mean, and that's fair to your point. For as not saying nonviolent as the American one is, it does kind of lessen the harsh vibe at the end of the movie. Yeah, the thing with her husband is it's fucking rough.

Oh we kind of like it, but I mean I find it amusing. But I also find that ending of Tusk funny. It's the same shit where it's just like, well, lives are ruined hilarious. Isn't it like the fucking machinations of the machine grinding us all down into dust hilarious. I mean, look, that's the problem with the French one, and I understand where you're coming from, Father Malone.

I think it's pretty I wouldn't say nihilistic, but it is more than the American one is, and that I mean that makes sense. I feel like, and look, I don't want to say like American audiences can't take it, but American audiences can't take it. There's a film coming out this summer fall with James McAvoy that's a remake of a Danish film, and its ending is pretty fucking brutal. There's a nine out of ten chance that they change it for the American one, because again, it's not that they don't want a happy ending, but the characters in this film that are bad get their come up ins in a way that doesn't involve them getting murdered. So I think to your point, father Malone, like I do think the American audience is what a happier ending, however you would interpret that, whereas the French one ends quite like our good friend Grrick Graham from The Man with One Red Shoe once said, hats are broken.

Bad guy when I mean, yeah, I love that he becomes the character you want him killed. Should we kill him? Yeah, because there's that guy in the French version. But having Garrett Graham become that character, should we kill him now, it's just like, let's just pick him up. He's so anxious to do it.

I love it. And I'm glad that they even keep the whole thing with the dentist's office because that's like the biggest waste of time in both movies, and yeah, we still do it in both movies. I was like, well, if there's one thing that the American one will do is they'll probably drop the whole thing with the dentist because he chickens out and doesn't go to the dentist. No, they keep the whole thing. So I'm like, they need be John Belushi, give Tom Hanks a bag of gag peanuts somehow.

What a fucking thing is that a thing? Was that a thing in eighty five gag peanuts that people were just like, here's a bag of rocks. I don't I don't think it was necessarily prevalent, but those joke shops did exist, those jokes, novelties were all were around. I'm just saying the French version makes more sense. He's just eating something and it pulls his filling out, like that has happened to all of us.

I don't know why they had to get so contrived with fake penuts, of all things, fake penut, but I will say that I think that Maurice deserves to be punished because he is a jokester and keeps handing out those exploding cigars. So in both versions you mean, are in the American one, in the in the French version. That's why I'm fine with him being catatized at the end. Also, his sense of style doesn't really Maurice does not. Yeah, I mean Morris, I think as a character.

It's also more fleshed out than Maurice is. Like Maurice is more there for it, like the punchline than anything else speaks. Once Maurice goes catatonic like that, you know, oh yeah, well and Maurice just the sequel is basically just to fuck with him even more. It's awful. It's just like compounds how horrible it was, like that, Uh, sir, you have schizophrenia.

That's the thing like that, that's the thing for me, Like for me, honestly, my takeaway from all three movies is there needs to be a movie about that character, the one who's the like the one who's just like seeing all these things happening. He's like what am I seeing here? And then everything's perfect, Like what what do you mean? Like I don't see anything that that character would be an interesting I mean, there's that's there's a tradition of that. I'm trying to think of some other things where it's like don't you see this thing?

And it's like here, I kind of wish I don't know, I mean, I not that he doesn't need to be punished. But in the French one he's a lot more of a dickhead, that's for sure, you know, talking about big bird and stuff. Alophagus, Yeah, kind of okay. In setup, this movie reminds me of Brazil in a lot of ways, just from this sort of sheer randomness of the of choosing someone. But I think Brazil is more like what you were describing, Like if it was about the guy who witnesses the fuck up and then has to deal with the aftermath, you know, that's the tale of Maurice.

I think Brazil is also about being ground down by the system, which I mean this movie is kind of getting at as well. I mean, the American one is. I think I think the French version is just sort of the French attitude towards the government, right, like, oh, they're awful, but what are you gonna do? Yeah, I mean I do love how the French version ends with everyone has the right to a private life and shouldn't be under surveillance. I was like, oh, that's kind of nice.

Especially this is four years after sixty eight, you know, so we've got a lot of problems with the government in France, and I think that some of that carries over into things like this. Evidently that law had come on the books two years prior to this film. In France, I had no law about privacy prior to that. I'm honestly surprised that this has not been remade in the times we live in now. I'm just saying, in the times of Jewish space lasers and all sorts of insane bullshit being believed, how is a movie like this not How has an idea like this not been remade, but with that kind of slant to it, that kind of a take on the government and them being again like the nanny stage shit, because that's what this movie is ultimately about, right, is again the government.

How far can the government intrude into your personal life, which in both movies cases is a lot, to the point of killing people in your apartment and then taking them out but putting them back but also leaving them. It's I don't know, I feel like this is the kind of idea when we talk about things that need to be remade. I know everybody wants to remake the shit that's been super successful, but this is a story that I feel like has some topicality and commonality with the now times, frankly, I mean with the all times in terms of the government spying on people. We know they're doing it now in as many ways we've made it easier for them. I have my fucking cell phone here on my table.

They're they're listening at all times now. It was more privacy in nineteen eighty five or in seventy two. There's less privacy now than there's ever been. What I like in both films is the sort of mass psychosis that comes with investigating somebody and having a suspicion in finding the societ visions in every well he's putting he's putting a code in his music, Like what's he doing with that? That must be a thing.

He's going to the dentist, get somebody to the dentist, you know, just hair out his teeth, which one, all of them is just that's awful, is all that. I love that he's just so clueless, like how he's brushing his teeth with shampoo and all the bubbles coming out and everything. I really like those kind of just silly psych gags, and he's just so like, yeah, weird stuff has been happening to me lately and has no idea what's going on? Oh you know, could I just say that here's another thing I like more in the American one, Like the concert scene in the French one is played for sort of slapsticky laughs, but the American one has played more for the characters because it's more about Yeah, I mean, we're getting the same dynamic in each it's just the way it's presented.

I don't know. In the American one, it's definitely about Jim Belushi and his relationship with his wife and his relationship with Tom Hanks, whereas it seems more far see kind of you know, a little more wacky in the French version. What I do have to say seeing this movie, seeing Man with One Red Shoe at thirteen and having such a huge crush on Carrie Fisher, Holy shit, was what the doctor ordered? Yeah, all the suckers for all these years have been saying like, you know, just the Princess Leah slave outfit, and I'm like, just a year later, we saw her in a key a leopard bikini and she was like acting sexy and shit, man, oh well under the Rainbow, she's amazing in that too. She's down in her underwear in that one as well.

Carry Fisher's great I mean, look, I think unfortunately she's forever associated with the thing, like so many of those actors from Star Wars have been now, like Harrison Ford and Mark Hamill. But I guess in a lot of boys, Carrie Fisher, for most people, never escaped that orbit. Like Harrison Ford had something else, Mark Hamill had something else. Oh no, I disagree. I think she transcended it better than both of them.

Like she she made you know, once she became a novelist, like and we've all figured out how fucking witty and funny and brilliant she was as a person, like she no longer became Princess Leah to me, sure, But I'm not disagreeing with you. I'm talking about for a specific age of people. Most people my age don't know that Carry Fisher wrote books. You know, Postcards from the Edge was literally her book that then Meryl Streep was in playing her. Yes, that is one of Carrie Fisher's books, Right, I'm more worth speaking for people my age.

I agree with you. I think Carrie Fisher has done did more in terms of her ability to be creative and create things that I think were personal to her. I'm not saying Mark Hamillon here is important didn't. But I think it's unfortunate that for a lot of people of a certain age and below, she's known as Princess Leah, because that is underselling her immense talents. To your point, Father Malone, Yeah, it's just such a shame she got strangled by her own bra.

You know, Princess Leia has become a pretty cool symbol for actual revolution these days, so there worse things for it to be in it. You know what I'm talking about when I say that, right, her bra she wanted she said at one point while she was living, she said, what I want my obituary to be was that I got strangled by my own bra. And so when she died, some people like honored her requests and said that. But I thought that was hilarious. But she's funny, She's fucking hilarious.

I mean her her scene in Scream three is probably the best part of that entire movie, in a movie that has a lot of weird cameos hers included. She's great here. I mean kind of I wouldn't say under used, but I mean the character is not the focus of the movie. So they use her about as much as they use her about as much as they use the character in the original film. It's not any more or any less.

Really, so close are these two? Yeah, I'm curious how this is going to go for the next few weeks here, Chris, Is everything going to be this similar? Because this one was just kind of splitting hairs. I don't know, because I've seen the American version of Dinner for Schmucks, I haven't seen the original and some of the other movies I haven't even seen at all, So I don't know. I hope not.

But at the same time, is who is that a credit to Francis Herber's scripts? Then? Right? Like that, like they're not changing much because they're already so fucking good on their own, at least that's my interpretation of it. Yeah, you know, I watched the toy because you put it up on the Plex and I hadn't seen it since way back in the day, and like that to me is a superior to the American one.

But the American one follows that script, like, you know, to the letter, So he's doing something right. And weirdly, Pierre Richard's character has the same name in both movies. Yeah, yeah, that's that's for whatever reason. I think he plays three characters of three similar names in like nine movies, to the point where it's like on his Wikipedia like this is the character's so lucky man situation with mcdeal's same character, Travis. Yeah.

I actually think the thing that was most surprising about this movie for me, just doing some of the research about and Herber is this movie doesn't have Gerard de Pardue in it, which is not going to be the case for like the rest of the month, right, because he shows up in half of the things we're watching the rest of the month. Uh. Criminal Gerard Depardou apparently as of like last week, turning himself into French authorities, which is great, awesome. I didn't miss him in this film. I don't think he belongs in this one.

I think everybody is cast perfectly in this movie. Yeah. Yeah, And I'm curious to see what that relationship is going to be alike. I mean, I can see Depardou being the straight man to Pierre Richard because Richard is fucking funny. Man.

I really like the way he carries himself in this and I'm oft of all the things I'm looking forward to diving into more of his work, just because I enjoyed this so much. I would actually say that if there was a spot for Gerard Depardue in this film, it would be the Maurice character. I mean again, am I saying a caliber of his an actor of his caliber would need to be in the film. No, but we know that Pierre Richard and Gerard Depardu are have this kind of pairing with some of these films, so it would have made sense. I don't think it would have added anything to the movie having Gerard Depardue there instead of the actor who plays him.

So, but if we're talking about a place to put him in as kind of the sidekick, I mean, which is where he's going to be for the rest of the month. Yeah, I mean that that might have made sense. Sidekick, you call me sidekick? Yes, I got nothing be either. So Stan Dragotti folks, director of the film.

Yeah, but what an interesting filmography he has. I mean he directed some movies that I've seen so many while mister Mom amazing. I love mister Mom. I think, yeah, whatever it takes, I think so love it. First bite, that's the gay vampirement.

Oh, God, that's so good. That's one of their on the Culture cast without me out me. I don't remember you guys liking that movie very much. We like parts of it, but the sort of pure asle kind of casually racist bullshit kind of weighed that movie down. What I remember, Dirty Little Billy is a weird one.

That was his directorial debut. It's like, was that that That's a fucking Billy the Kid movie with Michael J. Pollard. That's a weird fucking flick. It's a really weird movie.

And then he did She's out of Control and Tony Dianza, Everybody pull me closer, Tony Danza, and then I did just recently, I think i've watched Necessary Roughness. Was that? No, No, I didn't watch that one yet. That's uh Spacula and Elizondo. I just watched the one with its Simbad Jesus.

I just watched the one with oh kid mom, Gene Heck, oh Goldie Hawn. Yes. Oh the Dallas forty one. No, the one where it's Harrelson and Wesley Snipson. Oh yeah, white men can't Jump.

No, it's the other one, and it's not any train either. Nobody stops the money train. We're terrible, and we're terrible at trivia folks. I don't know if you guys know this. But also also in necessary roughness, Robert Loja, Robert Loujah, God damn Robert Loja.

Baby put him in anything and he makes it better. Where was Robert Loja in this movie? That's the question. I like the scene where they're sort of watching their surveillance footage of the of the lead and the in Christine, but in the American one they have they're just they're sitting there behind one way glass, so you get the shot of Dabney Coleman coming right up to Tom Hanks's face while Tom Hanks is speaking, and he's going like uh huh, yeah huh to him, a like in blowing smoke onto him. I don't know.

I thought that was magnificent. Also, here's a weird another culture cast thing. Bud Mullin, who edited this movie edited up the Academy. Oh wow, what a what a movie this is? That movie?

Is that movie better than this one? I don't know. Hopefully by now people have already sent us tweets, but the name of that movie is Wildcats. So yeah, the screenplay writer who helped adapt this, Robert Klein. His next film, Chris, would be National Lampoon's European Vacation, which I am looking forward to talking about because that's the one I saw the most.

And also he before he did Man with One Red Show, he did Unfaithfully Yours. Oh, another farce, yes, which like the French Farce, which oddly was written originally by Preston Surges. And I was talking before we started recording a little bit about Preston Sturges, and Weber reminded me of Sturges because like Sturges, his movies kept being directed by other people, and he just kept saying, I want to direct. These other people aren't doing my movie is Justice? I wanted to direct?

And so then he findly I think the Toy is his first one. Wow, why he got his wish? So Robert Klain known for Weekend at Bernie's, a movie I have never seen. I've never seen it either alone. Have you ever seen that?

I have seen that? Yes, Oh, and I've seen the sequel, yes, which, to be fair, if I want to watch one of them, I want to watch the sequel to the movie. I was like, yeah, Then I'm just saying voodoo and he walks around and shit, wow, Real Tales from the Crypt Presents Weekend at Bernie's too. What the fuck I mean? I'm now I'm definitely going to watch the second one.

I might not watch the first one. Uh, speaking of comedies in the eighties, because this is an eighties comedy at least the Tom Hanks one is. Uh. And you mentioned Dabney Coleman. Damney Coleman showing up in a lot of eighties comedies as the villain.

Not enough Modern Problems Hot to Trot nine to five, but Cloak and Dagger though he's a hero in that one. Is it a great ass? I don't know if you knew about this, Father Malone, but Mike and I had joked about doing a Dabney Coleman cast. You should. He's fucking worth it that.

I mean, his comedic timing is fucking impeccable. Man. I mean, he was in Dragonet, one of my favorite comedies, unironically doing a fucking stupid accent and it works. And in Hot is It Hot to Trot where he has the giant fake teeth, I think it is good. God in Heaven he would do that what was that movie he made where he was a cop who like found out he was dying, so he figured he would get killed in the line of service, so whose wife would get his pension?

H necessary roughness, just kidding. I do remember that because I was I was playing at the theater when I was working there, so it must have been like ninety ninety one yep. And yeah, it wasn't ouch trip, but it was somewhere right. Yeah, like that. I want to say cop out, but that's that fucking Kevin Smith piece of shit.

Yeah, it was a short time stories hanging from the building upside down and I want to say, they're center helicopter or something. And also in uh, you know, the the big screen adaptation of the Beverly Hillbillies, which has what is who does it have? It has a also has Ernest p. Worrow playing the patriarch of the the Hillbilly clan as it were, Erica Laniac as the as Christ, and Lily Tomlin is missus what's her name? Yeah, Lily Tomlin and Dabney collmen and Chloris Leachman plays Granny.

She plays. It's not a bad movie I actually saw. Speaking of speaking of ship, I saw a lot growing up. I don't know why, but I had the VHS for Beverly Hillbillies because he plays a villain in that movie, like of course, because of course he does, oh yeah, and of course he was in War Games, which he is fucking amazing man. And then even Tutsie, I mean, he is just I'm on fire in the eighties and the nineties.

I love Dabney Colon Buffalo Bill Buffalo Bill Baby, which I think I want to say that I looked it up recently and it didn't last very long at all. Season one season, and it's like that is so imprinted on my brain. They must have had the best advertising campaign ever. I here to what you guys are talking about. You had a series and one season series comedy with Geena Davis.

I believe is in it with him? Uh yeah, I watched every episode. I love Dabney Colemans. Yeah yeah. And it was one of those things where all the critics were going crazy about it, but the viewers just did not tune in.

Yeah, we should do. We should do like a podcast that just looks at shows that had one season of TV that really make an indelible impression. It's sitting waiting to be taken over by anybody. And I've made the offer a million times. It's not like anybody's having to drag me away from it.

So go for it. Hell, I might even show up if you want me to be there. I mean, look at the end of the at the end of the day. Shit like that makes a bigger mark on people than most of the things that are on TV, Like with eighties TV ladies Susan and Sharon talking about these shows that I'd never heard of but still have these like ravenous fan communities that are I mean, I mean, I guess, I guess we're kind of a little bit there with Bartiy Miller in Cooljak and Colombo. But I think of those three, probably Colombo was the most same fan group.

Cooljak shit still that Koljak stuff is still wild to me even now. But to get back to the movie in Dabney Coleman, Uh, yeah, he's great. I mean, he's great in this and I think, to your boy father Malone, that is a plus in the American one over the French one, because again, I think three of us have made it very clear big fans of Dabney Coleman, and not to bag on the the the actor who plays his analog in the French one, because as you said, Mike, like his death scene is so fucking good. But that's the one thing French one has over the other one is that moment where he's told what actually happened, This was just a mouse trap, and once he realizes it and knows he's been caught, he's just sort of grins and dies.

And I loved that moment. I think that's my favorite moment of all three films, is that singular moment, because it is the payoff that the American one doesn't have, at least not as kind of like abrupt, and I don't know, like the payoff is so great and you get to see it on the character's face, which I appreciate. The acting is fantastic. Yes, I don't know why they didn't do it in the American one, like they could have. There's nothing stopping them.

No. I guess they were just like, we don't need to have people more people die. I mean, it's not afraid to kill people. I mean plenty of people die in the American one, so it's kind of weird. It's not like it's a bloodless movie.

I mean, what one, two, three, four, five, six people die? At least four for sure, the four assassins do. I really like when they're in his apartment and you've got the forest in one room and the one just like closes the door as he's walking in, so he's the clueless that they're there. I really enjoy that kind of stuff. I mean, the French I think are great at that whole you know, closed door, open door comedy kind of stuff, and that scene and then all of the I know that silenced revolvers really bother you, Chris, but I just appreciate just that that gunfight is silent, that there is no noise happening because they've got the guy in the other room and he's just they're just using these silencers and taking each other out.

They don't even go or anything like that. It's just silent and they fall. When the fuck were we talking about silence revolvers. Every time we talk about silence revolvers, you bring up that it's there is no such thing. Because there is no such thing.

I will once again reiterate it's not a thing. Guys. There are no silencers for fucking open chambered guns like that. That's not a thing I watch movies. They're all over the place, right, which is why James Bond uses a revolver with a silence on the end.

Correctly. It just it made me laugh. But again, I think in my mind it adds more to the kind of absurdity of the piece. I don't think they knew it looked ridiculous, but it does look ridiculous. And yeah, in the French one, you don't actually hear that shit.

I think it looks cool. I mean, I know it's ridiculous, but it looks cool, right, I mean yeah, like it's ridiculous. I mean, they're doing it because it looks cool, but it's like ridiculous to do that. But two, but again, in my mind, that silence in the French one, like the American one. It's a lot louder when they're being shot too, like the French one.

I honestly, towards the end of the movie where they were shooting each other, I was like, oh, they just killed each other. Huh Okay, it's literally silent to your point, Mike, like barely audible, if audible at all. Yeah, And I thought that was a nice stylistic touch. I thought that Ease Robert brought a little bit more style to the film than what Stanley or whatever the other guy's name is. But yeah, I don't know.

But I'm not necessarily complaining about the direction of the American film. I thought it was competent. I just thought that the French one was a little a bit more stylish. Some of the you know, just even some of the framing of the shots and stuff, I thought looked a little nicer. It feels a little bit more high cinema, right, like one step above, but like not like not five steps above.

That's I think to your point, like it's it's like one or two steps up, but not. I mean the American one's well directed. It's not. Yeah, I mean, there's nothing about it that says, oh, this is an X Y or Z person's film. It's well directed.

Doesn't need to be any more than that. It's workman like, just like mister bomb this is he does a job. He does you know, he lets the characters do their thing. There's some good compositions too. It's not like he said he's a poor filmmaker.

It's just that you're up against a French film from nineteen seventy two. Just by that nature, it's going to be more stylish than yours, right, totally. Yeah, it's it's unfair at the outset, which I mean, and again, I don't think that the American film is even worried about that. I don't think it's worried about living up to the artistic standard that the French one may have set in its own mind, because again, at the end of the day, it is still a spy comedy film. It's not trying to be some sort of musing on the human condition.

It's meant to be a funny movie about the government getting involved in a guy who plays an instrument's life, and that guy just is kind of clueless for the most part and living within his own world while things are happening to him. Yeah, it's I don't know. That's the other thing that the French one, for me, it is, I mean, funnier is not important in this context, because again, comedy is so subjective. But I think the French one is trying to be more of an arty thing and the American one is just trying to tell the goddamn story in a lot of ways. And I think that's why our kind of thoughts on the American one tend to lie on, Oh, they fleshed out the characters more.

Oh, they did more with some of the stuff that you would expect them to do. And in the French one, it's more about just I mean kind of you've already alluded to it, Father Milone being kind of a farce, being kind of a fun movie where all these wacky, wild things are happening. I mean, it doesn't happen in the American one, which was kind of a shame. But wanted to see Tom Hanks blow bubbles out of his mouth because Pierre Rishard burping out those bubbles was a pretty great gag. And I was like, oh, that's not in the American one.

And I get why it's not, because again, French one's a little bit more. You get one bubble one, but you don't get like the little like a bubble machine, which is like, I mean, that's the gag, right, And it's just it's trying to do something different. But I think you can get something out of each of them that I think the filmmakers are intending, at least, which is to tell it at kind of an interesting funny story that I mean again, the sequel kind of ruins it for the French one, but I think both the American and the French original films are well made, well thought out, funny, and an interesting look at a world through a lens that we normally don't see, which is an outsider being brought in but not being aware of it.

We've seen plenty of movies where oh, you're a spy now, or the Man who Knew to live or stuff like that, and this is he never knows, is the point, and that's why it's so fun, is that he's never in on the gag moment. He's fucking in on it. It's no fun anymore. It's like you've taken all of the fun out and it's real, replaced it with bullshit in the second movie, because the second movie is not I don't know what the point of the second movie is, but the point of the second movie in my mind, seems to be making money because it doesn't. It doesn't treat the first movie like anything that happened in the first movie actually matters.

It pretty much just walks everything back in the first five minutes. Yeah, I was disappointed in that. I think I liked it better than you guys did, but I still is just like, right, I mean, it's just such a different flavor of movie, and yeah, it does, it definitely does. Undo. I just kind of liked seeing Maurice get tortured more.

Yeah, because I'm sadistic. Well, I liked. The thing I did like about the sequel was seeing more Jean de Rochefort. Like I didn't necessarily think his character deserved to become our hero or anything, but like spending more time with him was fun. Like he's he's got such a goddamn presence speaking of like those faces, you know, just seems like a statue come to life.

Well, and I kind of I agree with you, Mike in terms of the I think the Maurice character is the most interesting part of the second movie because, yeah, it's just that further needling of him, and we see kind of where he ends up at the end of the first movie. It's like, oh man, they're just up in the stakes even more and they're pushing it even further. But there was no sequel to the American one. Who knows what that would have looked like. I mean, for a whole host of reasons, there's not a sequel to that.

Yeah, but yeah, what might that be? Eight? Budget of sixteen million total gross eight. There's no sequel to the Man with One Red Shoe, no, which is a shame because those kind of numbers are for a movie much worse than this one. Yeah.

Yeah, I definitely enjoyed this a lot more than, like I said, when I saw it when I was thirteen. When I saw this when I was young, I was just like, this is interminable, and I just could I just didn't connect with that at all. So I definitely connect with it a lot more this time around. But it's still not one hundred percent. And yeah, I think it was just that early Hanks for me, where he just didn't feel like he was comfortable in his own skin at this point.

So I've never seen and not to make a gag, but I have never seen Splash. Okay, okay, So I'm asking this as someone who is putting themselves in a vulnerable position and saying they've never seen a very important movie for a lot of people. That's a very good movie. Was that movie and his performance so good in that movie that maybe it kind of gave people an idea of where he was going to be, and then there were a couple movies that weren't great in between there, and I would think the next thing that everybody fucking knows, which is Big, which I watched finally last year, I hadn't even seen it, and I understood, I get it. I didn't resonate with that movie at all, because that movie's got some weird things going on in that I have a really weird time talking about because it's just such a fucking weird movie.

But I understand why it's so popular. So is that's what's going on here with Tom Hanks. I'm asking y'all because you guys reacted to me saying I'd never seen Splash. I think Splash is that Tom Hanks persona that would eventually we should have meant it. And I think in between he was playing characters, so he was sort of subsuming himself into that role.

He wasn't doing a carry grant kind of a thing, like now I'm Tom Hanks in this role, so you know, in so like removing Tom Hanks from the equation as you know what he eventually becomes. When you look at his place in that movie, he's just another part of the movie, whereas in the French one, it's like it's a show piece role to like, you know, show off comedic chops, whereas Tom Hanks, like everything else, all the comedy is sort of toned down a bit. So I think he's playing more to the dramatics of it. He's he's the straight guy of the piece, you know, right right, yeah, which is a which is kind of the other big contrast, Like you just alluded to, Father Malone, pier Rashard just gets to kind of really be physically comedic and funny in a way that Tom Hanks.

It's not that he doesn't, it's just that's not the intense of the American film. It's not the Jim Perry playing the time role. Then it would be a lot closer to the French one right out of my head. Yeah, yeah, his Tom Hanks was his career was pretty uneven. I mean, he was doing very popular things.

I remember, I mean every movie that Hanks did, and really every every movie is somebody's favorite movie, right, But there are a lot of movies that he did between Splash and Big that people just absolutely love. I know, some people love Bachelor Party, My in laws love the money Pit. I love Dragnet like that. That's in between. That's in between.

I don't know if anybody loves nothing in Common, but you know it's there and volunteers is there. It exists, but yeah, boy doesn't it It was? It was pretty rocky, you know, and it took a little while, even after big stuff like Punchline. I saw that one, and again, I don't know, being sixteen years old, if that one wouldnnect with me a lot more now being fifty two. But then after that, it's like still kind of rocky with like people love the Burbs, Turner and Hooch Is.

You know, he's started to go into family stuff, Joe versus the Volcano for me as a personal favorite that I just think more people should see. And then he's the one who gets away unscathed from Bonfire the Vanities, Boy isn't he Yeah? And next thing you know, he's in I'll Leave of their Own and that again just like thrust him into this whole other world. And then you have Sleepless in Seattle, Philadelphia, Forrest Gump, Apollo thirteen, and Toy Story, Fucking Murderers, Row of Shit. If you made if you were the lead in one of those movies, you'd be happy let alone the lead in one, two, three, Oh wait all of them, literally all of them.

So reunites with Dadney Coleman and uh, you've got mail. So bringing it back to Coleman, all U Nights with Kerrie Fisher and the Burbs exactly. All roads lead back to Coleman. I love Gavin. There's our new podcast slogan right there.

The roads all lead back to Gary, Gary, Gary cole This is just a galaxy of bronze. What are you talking about? Willis? Sincerely, I don't understand. That's what we should have done.

Sant of Francis Weerber Films, Gary Coleman films. It's like what five. Oh, there's probably a lot of TV movie. Yeah, the the the Angel Kid, the Kid with Wings or something. Yeah, yeah, the Kid with the Golden Arm.

Oh no, that's just imagined. There's one that I think people can't find. It's like a lost Gary Coleman film. I don't remember what the title was, though off a lost Gary Coleman film. Yes, I wanted to ask you guys before we pivot away from Tom Hanks, because I don't know if we talked about this last year.

If I asked, y'all, is what is the quintessential Tom Hanks role? I mean it's not this movie, obviously, but what is like the for each of you, what is the Tom Hanks role? When you think of Tom Hanks, you know association immediately is is what role? Unform? It's fucking Forest Gump?

Yeah there, I mean I wish that it was Green Mile. I mean I really like the Green Mile. I know that there are some problems with the Green Mile, but I really like it, the whole magical negro thing. But I dig it, and yeah, I wish it was that that came to mind first. But he just did that Gump thing, and that Gump thing was all over the place.

You don't hear weird al singing about the Green Mile? That Gump? You do? Go right? You falling alone?

Well you did ask me this last year, my dad, and my answer remains the same. When I think of Tom Hanks, the first movie that comes to mind, and therefore my answer is the verbs right, Okay, that's right. That to me is he does everything I love him doing in a comedic performance, and nobody does exasperated like like fully justified exasperated better than Tom Hanks. Yeah, it's on full display in Netflix when he raises that voice, you know, that no crying in baseball type voice. I yeah, he's really killing it.

You are a toy that voice. You mean, yes, there's no crying in baseball. That whole thing I was pretty Tom Hanks, thank you, thank you, But I mean I grew up with the guy on Bosom Buddies and my heart still goes to that a lot. But yeah, there's a reason why he was so successful with that being one of his first TV projects. Well, and we just talked about on Film Foundations Meryl Streep and I made the comparison that Tom Hanks and Meryl Streep are like that actor actress of a like.

I would say that the quintessential American actor and actress. If you're been and I don't think there's anybody that you could current fleet put them up against that they are going to be second to. I think Meryl Streep obviously for a whole host of reasons, and Tom Hanks, I think they're like the people we think of when you think of a quintessential American actor, most people probably would think of Tom Hanks, maybe not of a certain generation. I mean, there are other people that I think are better examples, but they're long dead, or they're not long dead, but dead long enough that there have been plenty of people born who don't know who the fuck they are. And they're the same people that go, who's this Paul McCartney guy doing a fucking duet with Kanye West?

Oh my god, I want to die on the inside. Has ever heard of Paul McCartney before? It's that thing. So that's why I kind of worry about it. But I think Tom Hanks is like the quintessential American actor.

Frankly, yeah, I think he's like the Jimmy Stewart of today. And there might be somebody else coming for his lunch right now. I'm not sure exactly who would be. I think Pascal is too much of a flavor. I think, yeah, boy, a flavor of a certain variety.

But he is kind of I heard somebody call him the Internet's daddy, and I was just like, yeah, that's kind of what Tom Hanks used to be. No, Tom Hanks was our dad. Yeah it's not daddy. Yeah. They want to they want to, Yeah, they want to sit on Pedro Pascal's face.

Baby, big Daddy energy out. Yeah, all right, Dad and Daddy to very different contexts here the years. My bad, my bad. Yeah. I don't know if there's anybody right now that I would even put kind of in a in a because at one point it was gunning to be the conscience of America.

No, but but I don't think that. I don't even think there's anybody that anyone as like a a group consensus was taken. Like there are some people that maybe for a while, like a Chris Pratt type. I'm with you on that. I don't need him to be Mario and Garfield for fuck's sake, But maybe one of these days Ryan Gosling will be that I don't know or Reynolds, no ever can think of, like who could who could narrate the story of like nine to eleven, or who could be that voice when you come into freedom time?

Like when Tom Hanks Andrita got COVID, it was just like, oh shit, it's real. Literally that was the big Like I remember that more than I remember anything else about that day. Was Tom Hanks going, I have COVID, And that in my mind is like that is the moment that the pin was put in for me, where it's like if we as a society are going Tom Hanks has COVID and this is a thing we can all go holy shit to. Yeah like that for me is like Wow, that that's the person then, right, Yeah? I do father him alone.

Yeah, yeah, okay on my favorite subject, guys. Fair, that's fair, and I think and I think also to be fair in terms of someone like Tom Hanks when we talk about their mainstream appeal, he also has something that a lot of other actors don't have, which is he's known for his voice work, and he's known for his actual in front of the screen, because there are plenty of people that know Hims Woody from Toy Story and that has nothing to do with being in front of the camera either on top of everything else. So that I think further to your point, you are gunning for Chris Pratt, then you're right, the voice artist Chris Pratt. Yeah, known for Mario and uh yeah and Garfield. Now I guess jesus, yeah, I take what are you trying to do?

Take work away from Bill Murray? Come on here, Lorenzo music actually is the one. He was the perfect one. Yeah, God, yeah, I don't know. I always just I grapple with Tom Hanks as an actor because I think there's a lot of movies that he's done their amazing, But then he's done a lot of stuff that's just it's Tom Hanks in this movie, like Sully or all the Dan Brown things, or I mean a lot of his recent stuff like Elvis.

I don't think anybody. I think, actually he's the worst part of that movie. Oh yeah that well, well, look, the the practical effects weren't helping. But then to compile that with him having to do a terrible accent on top of everything else, and to play the Atlas what oh also that and to your point, he was in what one nine to eleven movie extremely loud and incredibly close. But was he even in that movie or was it just his voice on the answering machine.

I think he was the dead dad. No, yeah, because I think I actually saw that piece of shit, and holy how emotional manipulation. Oh boy? Yeah, yeah, yeah, Tom Hanks is eight I think, to your point, uneven at a certain point, but then after a while it's just like he's just sailing on through as Tom Hanks, which is you know, at this point that's fine because He's already made for a Scope twenty years on now, so twenty plus years on, so I'm gonna thought News of the World was decent. I have really wanted to see a hologram for the King, and I haven't watched it yet.

But because I was a big time Tweaker fan way back with Ron Lola Run and I think he did at least one other film that I really liked, so I was like, Oh, cool, he's making an American film and he's got Tom Hanks in it, and I know that there's a connection because Streaker also worked on Cloud Atlas, but I'm going to try to not hold that against him Cloud Atlas On. Speaking of another episode of this show, I was not on. Only two episodes of the Culture Cast Exists without Me Love It First Bite and Cloud Atlas, both which have been mentioned on this episode. Yikes to both of them. Frankly, I'm glad.

I'm actually glad we watched these movies though, because I was kind of curious when you said Francis Weerber films. I didn't look anything up ahead of time. I was like, I don't know what these are gonna be, and so for this to be just like a comedy. Was a nice, easy entry into this compared to all the all the things you've made me watch before. I'm trying to remember what the original Mike White may was.

Was it Japanese new wave films? It might have been, Yeah, good Aeros plus massacre, Massacre. See if I've and one. Aren't you glad you didn't have to watch a three hour Japanese new wave film? I kind of would have.

I would have been into it, honestly. I mean it's hanging, Death by Jesus Christ, Death by Hanging. That was, yeah. That Those were a a quicker introduction into the world of Mike White than this is. This is very easy watching.

I think if you're not into international film, the Man a tall, blonde man with one black shoe is a good entry point. It's an easy, light comedy, not asking much of you as an audience, and then you can go watch the Tom Hanks one and kind of watch it and feel smart because you already know where it's going, and when it surprises you, it feels earned. Anything else we want to talk about with the Man with One red Shoe, think them good really big shoe fatherm Alone. Final thoughts on the Man with One Red Shoe. Well, I mean, you know what, I was just about to say that I love it because I loved it when I was a kid, but having rewatched it, I really enjoyed it a lot of those actors.

It's just peopled with fucking great character actors. I'm always I'm always trying to get people to see Gret Graham in more things. So you know, not alone would recommend the movie, but I honestly watch both. Like I know, I have my preference, but they're both equal nearly. I mean, you're going to find things to recommend each of them.

So I say go out check them both out. They're easily available. What about you, Mike, Right, Yeah, I would definitely follow that up, and I would say avoid the sequel. That's really okay if you skip the Return of the Tall Blonde Man. Otherwise, Yeah, you're looking good, and I'm really excited because I have not rewatched that may not.

Of course, I've seen the Toy, but I think other than the Toy, and I'm talking at the Richard Pryor, Richard dot or Richard Pryor version, I don't think I've seen any of these movies. So this is going to be a brand new adventure for me as well, and I'm really looking forward to it especially. I am excited very much now to see the rest of these me too. And that was I think the big takeaway here for me. To your point, Father Malone, compare contrast, I think these are both good movies.

To what I said at the at the beginning, like there is a very narrow line separating them, and I think when it's something like this you alluded to it already. I can't really suggest one over the other because I think they both deserve to be watched. That may not be the case the rest of the month, I don't know. Again, I've only seen one of the things we're going to talk about, and it's the American version of the French version. So this is a good way to start the month.

I mean, two good movies, are they movies that everybody is going to resonate with. No, but you might resonate with one over the other, which I think is also perfectly fine. So yeah, on that note, we'll take a break and play some ads and then we'll play a preview for the next culture cast from weirding Way Media, Cambridge and with Shawn is a podcast about two guys obsessions, passions, and hobbies. Those two guys are Mark Bigley, host of Wake Up Heavy, Recollections of Horror, and raw On Zurigian, host of the Skelevator YouTube channel. Each month, we talk about the toys, comics, movies, books, TV shows, and other cultural phenomena that captured our imaginations and helped shape who we are today.

From Masters of the Universe to Saturday Night Live Star Wars to Harry Houdini the Muppets to The Elephant Man. Ronnie and Mark dive deep into the recesses of their minds to pull out treasured memories of things lost but never forgotten. Join us on the first Tuesday of each month over at weirdinwaymedia dot com or wherever you listen to podcasts. Join me Jamie Benning on the Filmmentaries podcast, particularly if you enjoy stories like designer Nila Rhodis Jamiro convincing George Lucas to push him around to help gain the support of his crew on the Ailing Howard the Duck Plam, the door opens, It's George. Everybody gas.

George makes a b line to me, I'm literally back against the Wall. Well here Pappatier Tim Rose's emotional star story behind that iconic Amerlac bar shot in Return of the Jedi. I believe it or something to be proud of, but not the cellburg or how star was. Editor Paul Hirsch tackled cutting so many successful films. The thing that I learned from work with the Palm is that tension depends on a clock.

You need to have the sense that time is running out. Maybe Oscar winning sound designer Mark Mangini's insightful chat about his work on Blade Runner twenty forty nine. Not a single sound from the original Blade Runner in the new film, A great deal of inspiration. That's the film Youmentary's podcast with me Jamie Benning, Hello, Twisted Humans. Do you find yourself wanting to know more about the latest murder, conspiracy, cult or haunting than this is the podcast for you.

In nineteen fifty two, there was a record high of UFOs reported fifteen hundred sightings. There has been evidence of human sacrifice, double worship, and it is haunted by more spirits than can be counted. A family of two adults and two kids reportedly saw a giant flying thing with glowing red eyes. And meanwhile, the family's nanny that helped Veronica to care for her and Lucian's children, was found bludgeoned to death in the basement of their family home. I'm Alicia and I'm Sierra, and this is twisted and uncorked.

What do you give the kid who has everything is for anything? I wanted anything in the store for Eric Bates. It was the only toy in his father's store w that wasn't for sale. What you're offering is not a job, sir. That's an insult, and I'm insulted.

I'm splitting now. Jack Brown has been made an offer. He can't refuse twos that kind of money. If Eric blows the nose, you wipe up. And if he can survive one week with Eric, what you were gave a new meaning to the word man.

He may even find himself a friend. If you want a friend, you don't buy a friend a friend. Richard Pryor, Jackie Gleason, Ned Batty and Scott Schwartz in a Richard Donner film, The Toy That's Right. On the next Culture cast, we are going to be talking about the aforementioned toy and the toy Let toy and the toy laty. I know if we're gonna watch the new toy as well.

I'm probably gonna watch it if I can. But at the name of it, the new toy, the New toy, Yeah, we had another of it, Jesus Christ is Equal or something. What is that one? It's another remake. And then I want, uh, when was that released?

It was pretty recent. I want to say it was twenty twenty two. Wow, dear God, I'm gonna it's that independent of you guys, Yes, it is twenty twenty t you. Uh it was James huff directed it. I'm not sure what languages is and uh oh le nuvu juet so it's definitely French, right, Oh.

Interesting? Yeah, and I think they bring in more racial politics in here because I think the new toy is is also an immigrant. So yeah, it's a it's not let toy, it's lesuett as. You're just true and we'll be joined by our dear friend all the way from the Chasing Chevy Chase Podcast, Yes, otherwise known as the CCCP podcast. Totally not on purpose, but boy, what a happy accident that is.

Ohioli Jiping Taiwan is not a country. But every time I have to type that in, I always laughs. I'm like, oh, holy shit, we happened to to that abbreviation by pure accident. So we'll be joined by our dear friend Mark Begley on that episode. Until then, where can people find all the fantastic things you spend your time on?

Bi them alone? Go over to Weirdingway medians dot com. You mentioned it earlier. We do a show called Midnight Viewing, which is a bi monthly show, but now it's a weekly show because if you tune in every other week you'll hear me and co host Antonio Lapour as we take a look at anthologies of all stripes and varieties, starting with a heavy Metal from nineteen eighty one, the a animated anthology film. See now he's going to do all the fun stuff without us, That's what he's seemed like.

He's like, oh, and now we're going to do heavy metal. It's like, yeah, we see where I'm not wanted. We don't get to take a ride on heavy metal with you. No, but you're you should tune in. It's really it's some good incisive thoughtfulness.

You and have no power. Yeah, and if you're at is any indication you talk about framing Roger Rabbit too. Oh yeah, it's a very far arranging conversation about oology is an animation and we get into everything. So it's a worth a listen everybody. What about you, Mike Way, Where can people find all of your assorted audio thangs?

Ironically enough, at the same place as Father Malone mentioned, Weirdingwaymedia dot com is the place for everything that you need, all your sundry podcasting needs. How about you, Chris A what A what a fun answer I'll be giving Weirdingway Media is where you can go to find everything I work on outside of one one thing that is behind the paywall, and that is over at patreon dot com slash culture cast or patreon dot com slash Projection both. That is ranking on bond where Mike and I along with our dear friend Richard HadAM of Richard Adam's paranormal bookshelf. You can give me five dollars for that one, Richard. We talk all about what James bond.

So yeah, we'll be doing that every month over at Patreon. If you want to check that out, you should. We are right now at Goldfinger, which is a good place to get in on it because and with the Golden Touch. Yeah. Also that as he interjects the song, I mean it's a good song.

I mean, I mean, I'm not saying it's the best part of the movie, but it's one of the best things in an amazing movie. Yeah. And so if you want to hear us talk about that, head on over there. As for this show, find it on iTunes. That's where it is.

If you're not finding it on iTunes, head over to iTunes like rate and review the show. You'd help the show out immensely by finding a bigger audience. So, Father Milone, thank you so much for joining us, obviously, and Mike for programming the month. But you'll be here next week, so I'll be here. Can't keep me away, wild horses, couldn't tear me away try the veal obviously, And yeah, we'll catch you on the next episode.

I say three