Martial artist and Hollywood actor Bruce Lee passed away a mere month before the release of his breakthrough Gung Fu film Enter the Dragon. Easily dismissed as a remake of Doctor No that rehashed a famous scene from Orson Welles’ The Lady From Shanghai, Enter the Dragon has several puzzling loopholes neither the screenwriter, editor, or director could fix. However, this Hong Kong production cashed in on Lee’s California Connections, his personalized style of Jeet Kune Do, and Lee’s absolute determination to finally make a 'western' film his way. Join Mike White of the Projection Booth Podcast as we go scene by scene and discuss how a forgone tragedy turned into not only the film Bruce Lee is most remembered for, but the seminal martial arts movie for an entire generation.

If you live on the moon and have never heard of the Projection Booth Podcast, you can find it here or wherever you listen to podcasts.


All music by Roziland MacPhail. You can find her here and on iTunes. 


WORKS CITED
Works Cited
Clouse, Robert. The Making of Enter the Dragon. UP 1983. 
Clouse, Robert. Bruce Lee: the Biography. UP 1983. 
Astarate, Richard John. About Chinese Cinema. Film Quarterly Vol. 62. No. 02. Winter 2008. P72-76. University of California Press. 
Flanagan, B. P. Kung Fu Krazy: or The Invasion of the Chop Suey Easterns’ Cineaste Vol. 6 No. 3 (1974) p8-11. 
Logan, Bey. Hong Kong Action Cinema. The Overlook Press. Woodstock, New York. 1995
Tiana (Thi Thanh Nga). From Wong to Woo: Asians in Hollywood. Cineaste: Race in Contemporary American Cinema. P38-39. 
Thomas, Bruce. Bruce Lee: Fighting Spirit. Frog, Ltd. Berkeley.1994.

EP26 - Enter The Dragon

Mike White of the Projection Booth Podcast was nice enough to sit for a Special Report for the Super 70 Podcast. We discuss the career and possible future of Bruce Lee, the importance of Cinema in our lives, and I ask him when the hell does he have time to push out three hour episodes every week on the Projection Booth?

Find Mike at https://www.projectionboothpodcast.com
On Twitter @proboothcast
Find Rozalind https://www.rozalindmacphail.com
On Twitter @flutegirl
Find me at www.thatdylandavis.com
On Twitter thatdylandavis@gmail.com

Special Report With Mike White

Katsuhiro Otomo was 34 years old and had only directed a short film when he dished out the most important Japanese anime film of all time. Based on his own massively popular Manga, AKIRA takes western influences and filters them through eastern experiences. Join Laura Seiling, Danny Gaylord, and Ryan Burns from the Film is Lit Podcast as we go scene by scene through AKIRA and discuss the influence of biker gangs, the trauma of growing up after a nuclear holocaust, and the insufferable torment of adolescent angst. 

Get a hold of Film Is Lit here: https://www.facebook.com/filmislitpodcast
And Roz’s new album here: www.rozalindmacphail.com

Works Cited
Otomo, Katsuhiro. AKIRA. Six Volumes. Kodansha Comics. Tokyo, 1990. 
Lopez, Remi. The Impact of AKIRA: A Manga Revolution. Third Edition. Toulouse. 2020.

EP27 - AKIRA

Okay fan boys and girls, you know the drill. Once upon a time I bet any year of film in the 1980’s would beat any film from any other year in any other decade. I flippantly told Dave 1984 would beat 1924, 1934 and do on. And he roundly proved me wrong. I wanted a rematch, and again chose 1987 out of a hat. That year may flip both of our points of view. By the time the podcast is over we’ll take a huge deep dive into our Letterboxd accounts, finally spend an adequate amount of time on the amazing October of 2021, and we breakdown our love of cinema and compare the size of our…screens. 

The Super 70 Podcast can be found on Soundcloud, Spotify, and any feed Apple RSS pushes to. You can find me, my books, and my blog at www.thatdylavis.com. You can find Rozalind MacPhail at www.rozilandmacphail.com. You can find Dave Anderson on a future episode of The Super 70 Podcast.

Special Report - Decades Rematch

British Director Gurninder Chadha dominated the UK theaters for three weeks in 2002 with a story about an Indian girl who just wanted to play soccer. When the audience turned out, though, they saw a multi-layered critique of modern British society that included sexism, racism, and clashing culture. Join me as we go scene by scene to see how clandestinely Chadha discusses these topics using clever iconography and metaphor in what is one of the most important films about immigration, assimilation, and aloo gobi. 

Works Cited
Bagguley, Paul and Hussaine, Yasmin. Bend It Like Beckham film review. Feminist Media Studies, Vol 2, No. 3, 2002. Routledge Taylor and Francis Group Press. 
Deprez, Camille. Comparative Reflections on Hong Kong and indian Cinema - Identity, Diaspora, and Cosmopolitanism. China Perspectives, 2009. No. 3 (79) (2009), pp 87-96.
Gianrdina, Michael. Bend[ing] it Like Beckham: Stylish Hybridity in Popular British Culture. Counterpoints, 2005, Vol 282, Sporting pedagogies: Performing Culture & Identity in the Global Arena (2005), pp 27-48.
Alie, Lorraine. GOOOOOOAL! Newsweek; 4-21-2003, Vol 141 Issue 16, p52, 2p, 2c.
Ransom, Amy J. Bollywood Goes to the Stadium: Gender, national Identity, and Sport Film in Hindi. Journal of Film and Video, Vol 66. No. 4 (Winter 2021). Pp 34-49.
Stuart, Jan. Alive and Kicking. The Advocate. 4-1-03. Issue 886. P57. 1p. 1c.
Sawhney, Cary Rajinder. ‘Another Kind of British’: An Exploration of British Asian Films. Cineaste, Fall 2001. Vol. 26, No. 4. Pp58-61.

The Sikh Encyclopedia
https://www.thesikhencyclopedia.com/
A starter for Sikhism
https://www.allaboutsikhs.com/
To see how two forwards level off before scoring, watch this textbook execution
https://youtu.be/hadWFJS-An8

On Twitter @thatdylandavis      
www.thatdylandavis.com
Find @rozalindmacphail 
www.rozalindmacphail.com

EP29 - Bend It Like Beckham

I keep in touch with my friend Dave Kinnaman over Zoom. We talk carpentry, history, and literature. Things got pretty wild when I dove in deep discussing two famous documentaries: Ken Burns’ Vietnam and The Last Days of Vietnam on PBS. Both of these documentaries were outstanding efforts to understand and convey the toxic American experience in Asia. Unfortunately, most of this conversation was lost which we recognize now days as a part of the Zoom experience. Also unfortunately, Dave and I digressed greatly in the making of this episode and our conversation we covered so many topics that were, well, off topic that I had to cut them out. In this episode we discuss the glory of HBOMax, Peter Jackson and how literature finds itself on film. 
Thanks for listening to the Super 70 Podcast. You can find me, my books, and my blog at www.thatdylandavis.com. You can email me at thatdylandavis@gmail.com I am also on Instagram. Appreciate Roz’s music at www.rozalindmacphail.com  
Discussed: 
The Vietnam War 
The Last Days of Vietnam 
F for Fake 
The Man Who Shot Liberty Valance 
Office Space 
The Rum Diary 
Fear and Loathing in Las Vegas

32.1 Film, Literature, And Kinnaman

A few months ago I asked a friend of mine, Paul Emig to pick a movie, any movie, for the Super 70 Podcast. He chose Peter Jackson’s Braindead and needless to say this was not my cup of tea. But we don’t care about bad taste at the Super 70 Podcast. We don’t care if it has a budget of twenty thousand dollars or two hundred million, if it’s shot on Super 8, or 70 millimeter. All we care about, if I may be allowed to paraphrase Russel Crowe, is if you are entertained. Also for the previous year, Ben Waterhouse has been begging me to watch the same film. Now what are the chances that I would find two people on this planet that both love Braindead? While we dissect the work of Peter Jackson we digress through his work to the other towers of ANZAC cinema, reach around the edges of the Uruk-Hai and debate the merits of The Beatles, Greta Van Fleet, and Christine McVie.

33.1 ANZAC Cinema

I sent my friend Dave Kinnaman Hanna Arendt’s famous book Eichmann in Jerusalem: A Study in the Banality of Evil.  Dave became so engrossed in Arendt’s history of the Holocaust and her philosophy of murder that I then sent him an Israeli documentary of the Eichmann’s trial called The Specialist by director Eyal Sivan. Using original footage of the trial, Sivan reconstructs Arendt’s arguments of why the trial was a failure though it still rendered justice, and through her work she constructed a theory of how the Shoah occurred. Join Dave and I as we sift through the darkest part of the 20th Century using Sivan’s sly masterpiece of truth and Arendt’s arresting idea that the worst mass murderers use droll paperwork instead of bullets. 
 
Works Cited 
Hanna Arendt 
Eichmann in Jerusalem: A Report on the Banality of Evil 
The Origins of Totalitarianism 
On Revolution 
The Human Condition 
On Violence 
 
Films 
The Specialist (1999) Eyal Sivan 
Eichmann (2009) Robert Young 
Operation Finale (2018) Christ Weitz 
The Eichmann Show (1961) Paul Andrew Williams 
Hanna Arendt (2012) Margarethe von Trotta 
The Man Who Captured Eichmann (1996) William A Graham 
The Trial of Adolf Eichmann (1997) Michael Prazan 
Operation Eichamann (1961) R. G. Springsteen 
The Devil Speaks (2022) Yariv Mozer 
 
Other Books 
The Desk Killers, by Dan Gretton 
On Killing, by Lt. Col. Dave Grossman 
The Good Old Days: The Holocaust as Seen by its Perpetrators and Bystanders, by Ernst Klee 
 
You can find me, my books, and my blog at www.thatdylandavis.com.

33.2 The Specialist, Hannah Arendt And The Banality Of Evil

Hot off the success of the ninth highest grossing movie of all time, William Friedkin abandoned a film about the Bermuda Triangle to focus on a re-interpretation of the George Arnaud novel “The Wages of Fear.” Every possible thing went wrong during every stage of production. Stars dropped out. The budget ballooned. Friedkin fired needed personnel. The shoot stretched past 90 days. Largely ignored in the wake of the release of Star Wars a month earlier, Sorcerer has in the decades since been re-appraised as one of Friedkin’s best films. Ostensibly about four criminals in hiding delivering unstable dynamite to an oil well on fire, Friedkin uses the parable to convey how the different nations of the world have to join together to get the job done... or die in the process. Join me and Dave Anderson as we break down the rhyme and reason of the film that derailed “Hurricane Billy’s” career.  

Works Cited 
Friedkin, WIlliam. The Freidkin Connection: A Memoir. Harper 2013 
Segaloff, Nat Hurricane Billy. William Morrow 1990

34 Sorcerer (1977)

Alexander Payne had not made a single film that I like until I went to see The Holdovers for Tightwad Tuesday. Masked by the period piece setting, the story is more about how broken people find peace than it’s outward image as a Christmas film. Teaming up with Paul Giamatti and using David Hemingson’s first script for the big screen, Payne avoids the rom-com holiday fare by pitting the veteran Giamatti’s cantankerous private school professor against first time actor Dominc Sessa, an actor literally from the drama class at the school used as a set. Balancing the two is Da’Vine Joy Randolf, an inspired casting decision who turns in a revelatory performance. Join my son Luke and I as we discuss this surprising holiday hit that has a chance to become a drama to come back to every December.

34.3 The Holdovers Holiday Special

As will be explained in the subsequent conversation, Luke and I came across two very different films called Hannibal and decided to do a double feature in a day. The result... was very dour.

34.12 Hannibal And Hannibal

After sixteen years of a fanbase growing into adulthood, George Lucas dropped fifty millon dollars of Lucasfilm Limited’s money into the surest bet in Hollywood history: The first film in a new trilogy of Star Wars films. Though distributed by Fox and produced by Rick McCallum, Star Wars, Episode I: The Phantom Menace would be exactly like the first film from 1977. Lucas would have total control over screenplay, production, casting, editing, and marketing. What emerged was the most controversial franchise film in history, a movie that conflicted with Canon, had red herrings, left some audiences confused, some angry, and had the greatest lightsaber duel in history. Twenty-five years later, Warren Hayes, Paul Emig and myself go through The Phantom Menace scene by scene as we lament what could have been and appreciate what we do like. Join us as we watch the Phantom Menace and discuss all thing Lucas: including racism, bad acting, our total respect for Ahmed Best, and how much all of us miss Marcia Lucas.

35 The Phantom Menace (1999)

In one of the bravest acts of Cinema History, Warner Brothers decided to give Tim Burton, a former Disney animator with a whopping two directing credits to his name, the keys to the Batcave. One of Burton’s most controversial decisions, casting comedic actor Michael Keaton as the brooding millionaire Bruce Wayne. The cinema event of the summer, Batman 1989 touched pop culture in a way that exceeded even Richard Donner’s Superman of the previous decade. Launching a franchise that lasted almost a decade, Batman 1989 also launched several other comic book properties hoping to grab hold of a new audience buying an increasing amount of comic books. Much loved by a generation, it is also much maligned by those like me who feel the World’s Greatest Detective needs to be more like Frank Miller and less like Batman ‘66.

36 Batman (1989)

We’re running a few weeks late due to the release schedule in Deutchland, but here is Luke and I talking about experiencing Tim Burton’s latest big hit and how it played out down in the Potsdammer Platz.  

Find Rozalind MacPhail’s music at www.rozalindmacphail.com . You can find me, my books and my blog at www.thatdylandavis.com. You can email me at thatdylandavis@gmail.com. You can find the small, thermal exhaust port right below the main port.  

36.3 Beetlejuice Squared

Luke and I start off by discussing Ali Abbassi’s controversial biopic “The Apprentice.” We try to talk about the President Elect’s record as a rapist, his friendship with Roy Cohn, and well... at least we tried. Meander we did through our cinema experiences while Luke is in Deutschland. We discuss what we’ve seen, what we haven’t, and then Luke takes plenty of time scrolling through my Letterbxd to roast my reviews. There must be better ways to spend time with your son than on Zoom talking horror, Steven Seagal, and Golan Globus Cinema, but I don’t know what they are.  
 
 Thanks for hanging out with Luke and I while we talked about The Apprentice. Find Rozalind MacPhail’s music at www.rozalindmacphail.com . You can find the Super 70 Podcast wherever you find podcasts. You can find me, my books and my blog at www.thatdylandavis.com. You can email me at thatdylandavis@gmail.com.  You’ll see us next time at the Cinelux. Get off at Alexanderplatz.  

36.4 Don't Google "Roy Cohn's Bedroom"

In one of the most magnificent careers in cinema history, Alfred Hitchcock outdid himself with a run from 1951 to 1960 that encapsulated not only some of the best Hollywood films of the decade, but of all time. In the middle of this impressive flex is Hitch’s complex ode to gender roles, gender relationships, and expectations. Hitchcock, who already had gone everywhere and done everything for film, challenged himself by limiting everything except his imagination. Rear Window was shot on one set with minimal actors, and included his lead actor not just staying in one room, but staying in one chair for the entire film. Casting Jimmy Stewart, America’s all town boy, against type as a voyeur, Hitchcock uses a high form of the Kuleshov Effect to tell an insidious tale of murder in the big city. Join Dave Anderson and I as we muse scene by scene through the Master’s use of light, incredible technicolor camera panning, and do I need to mention Grace Kelly, to create a subtext describing the phases, levels, and intricacies of being in love and being human. Along the way we discuss Stewart’s role as the first Redditor, De Palma’s aping of the master, and how even Die Hard rips off Hitchcock.  

You can find the Super 70 Podcast wherever you find podcasts, and most recently on YouTube! You can find me, my books, and my blog at www.thatdylandavis.com I’m @thatdylandavis on Threads, Letterbxd, and Blu Sky. I’m Dylan Davis and we’ll meet next time probably in L.A. 

Works Cited 

Belton, John. Alfred Hitchcock’s Rear Window. Limelight. 2004 

Fawell, John. Hitchcock's Rear Window: The Well-Made Film The Well-Made Film. Southern University Press. 2001. 

Sharff, Stefan. The Art of Looking in Hitchcock’s Rear Window. Cambridge University Press. 1999.

37 Rear Window (1954)

After Rear Window, Dave and I decided to find out how long into the night we could go drinking beer, talking about Hitchcock, and discussing his 2024 Letterbxd, David Lynch, Beavers, the nature of God, the duality of man. The meaning of life. Is wrestling fixed? What is Martinizing and why does it only take an hour? 

You can find the Super 70 Podcast wherever you find podcasts, and most recently on YouTube! You can find me, my books, and my blog at www.thatdylandavis.com I’m @thatdylandavis on Threads, Letterbxd, and Blu Sky. You can find Rozalind MacPhail and her music on Soundcloud. I’m Dylan Davis and we’ll meet next time probably in L.A. 
Find Rozalind www.rozalindmacphail.com 
On Twitter @flutegirl 
Find me at www.thatdylandavis.com 
On Threads & Letterbxd @thatdylandavis 

thatdylandavis@gmail.com 

https://youtu.be/POgWODZyUGQ?si=RIzigCeQhqCdokAR

37.1 Hitch And 2024

If any of you have been following along then you know that my son Luke spent his fall semester in Berlin. In between trips to European capitals, taste testing the continent’s best beer, and understanding the dangers of the AfD, he also took a German Film Class that spanned the 20th Century. He also saw a few flicks over there and we compared notes.  This is our conversation.  

You can find the Super 70 Podcast wherever you find podcasts, and most recently on YouTube! You can find me, my books, and my blog at www.thatdylandavis.com I’m @thatdylandavis on Threads, Letterbxd, and Blu Sky. You can find Rozalind MacPhail and her music on Soundcloud. I’m Dylan Davis and we’ll meet next time probably in L.A. 

 Find Rozalind www.rozalindmacphail.com 
On Twitter @flutegirl 
Find me at www.thatdylandavis.com 
On Threads & Letterbxd @thatdylandavis 

thatdylandavis@gmail.com 

37.2 Kino in Deutschland

Mega-controversial comedian Andrew Clay Silverstein got his big break on Rodney Dangerfield’s 1988 HBO special and soon thereafter was playing arenas. His comedy album The Diceman Cometh went gold and following a live set on MTV, he was banned from that network. His next album, The Day the Laughter Died, went gold in seven weeks, and eventually went platinum. He then hosted the most controversial episode of SNL ever which led to cast boycotts and huge controversy. 1990 saw the release of this film, earning the infamous Golden Raspberry for the worst film of the year and Clay the worst actor of the year. Join Warren Hayes, Paul Emig and me for a scene by scene retching of what could possibly be the most misogynistic film Hollywood has ever made.  

All music is by Rozalind MacPhail. You can find her at www.rozilandmacphail.com. 
On Twitter @flutegirl 
Warren on Twitter @warren_hayes 
Find me at www.thatdylandavis.com 
On Threads & Letterbxd @thatdylandavis 
thatdylandavis@gmail.com 

You can find the Super 70 Podcast wherever you find podcasts, and most recently on YouTube! You can find me, my books, and my blog at www.thatdylandavis.com I’m @thatdylandavis on Threads, Letterbxd, and Blu Sky. You can find Rozalind MacPhail and her music on Soundcloud. I’m Dylan Davis and we’ll meet next time probably at Pacific Tech.

38 The Adventures of Ford Fairlane (1990)

After recording the Adventures of Ford Fairlane Commentary, Paul Emig, Warren Hayes, and myself discussed misogyny, jingoism, comedy, cinema, and the comedian trends in Hollywood.  

38.1 Dice, Dice, Baby

My friend and frequent guest on the show, Dave Anderson, went to go see Sinners opening weekend. I saw it that following Tightwad Tuesday. Dave messaged me and it read ‘let’s try that zoom thing because Sinners is so good.’ And that’s what this is. On the backside we discuss the recent Academy rule change, A24 aesthetics, BBS, and the morality of playing podcasts back at faster speeds.  

38.2 Sinners is so Good

I don’t know what you savages do in the rest of the world, but here in the fourth largest city in America, most theatres discount movie tickets on Tuesday night. The result, the Davis family has butts in seats, usually by five thirty, watching whatever it is we didn’t see the previous Friday. Tightwad Tuesday is a Davis family tradition to keep our cinemas alive. My son Luke and I made an astonishing amount of them since he got back from Deutschland, and we go over those 2024 releases here.  

 You can find the Super 70 Podcast wherever you find podcasts. You can find me, my book, and my blog at www.thatdylandavis.com and @thatdylandavis on threads, Letterboxd, and blusky. You can find Roziland MacPhail on Soundcloud and Facebook. You can find Luke across the street from Tempelhof Airport, probably in a Canadian Bar.

38.3 Tightwad Tuesday

It started on our first Kino Day of 2025. I slipped in an 80’s movie while we camped out and did fuck all but watch films for as long as we could. That movie was Turk182!, and it led to us watching an 80’s movie every weekend. Luke sat down with me the weekend before he flew to Berlin to talk about the strange era that made cinema so good.   

You can find the Super 70 Podcast wherever you find podcasts. You can find me, my book, and my blog at www.thatdylandavis.com and @thatdylandavis on threads, Letterboxd, and blusky. You can find Roziland MacPhail on Soundcloud and Facebook. You can find Luke at Berlin Alexanderplatz on a Friday night.

38.4 80's Movie Weekends

Starring wrestling superstar “Rowdy” Roddy Piper and the amazing veteran David Keith, we watch John Carpenter’s master commentary on capitalism: 1988’s THEY LIVE. Released the Friday before the federal election, THEY LIVE is an overt criticism of yuppies mixed with an undercurrent on race, politics, and the future of America. Join me as we uncover not only how THEY LIVE was relevant in 1988, but how it is still relevant just last week as we woke up and asked ourselves: “What’s Wrong, Baby?”

The Super 70 Podcast is available on iTunes, SoundCloud, and my website at www.thatdylandavis.com. 

All music on The Super 70 Podcast is provided by Rozalind MacPhail and Joshua Cunningham whom you can also find on SoundCloud. Works Cited for this episode are: Jonathan Lethem’s They Live (2010), D. Harlan Wilson’s They Live (2015) and Slavoj Žižek’s They Live and Violence (2008).

EP07 - They Live

Mel Brooks took on a huge challenge when he decided to Produce and star in a remake of the classic Ernst Lubitsch black comedy To Be or Not To Be from 1941. Critical opinion was mixed at the time with most saying it would have been better if Brooks had left the sardonic and extremely sarcastic war film alone. The result, To Be or Not To Be 1983 presents itself as a very noble attempt to give the story a slightly different take including dealing with a painful past and cultural myths using slapstick and civil rights. Watch the film while playing this podcast and perhaps we’ll see our mixed opinion about this 80’s comedy change much like it did for Lubitsch’s original masterpiece.  

The Super 70 Podcast is available on iTunes, SoundCloud, and my website at www.thatdylandavis.com. You can also find me on Twitter @thatdylandavis

All music on The Super 70 Podcast is provided by Rozalind MacPhail and Joshua Cunningham whom you can also find on SoundCloud. Works Cited for this episode are: To Be Or Not To Be  the BFI paperback by Peter Barnes available on Amazon.com.

EP09 - To Be Or Not To Be 1983

We wrap up the 1980's by looking at Michael Lehmann's 1988 pop bubble gum suicide film tome Heathers. With a screenplay by Daniel Waters and starring Winona Ryder and Christian Slater, Heathers is an unlikely black comedy that threw glitter on the glamorous to bemoan a culture that pursued evil in the race to popularity. Dismissed at the time as an insulting anti-John Hughes trash pick, Heathers was the leader in films that started to talk the way teenagers talk and took on serious issues teenagers were eager to think about. 

The Super 70 Podcast is on Soundcloud.com, iTunes and www.thatdylandavis.com. You can reach me at thatdylandavis@gmail.com and on Twitter @thatdylandavis. The soundtrack to the Super 70 Podcast is written and mixed by Roziland MacPhail and Joshua Cunningham, both of which you can find on Soundcloud.com 

Works Cited
Heathers - Deep Focus by John Ross Bowie

EP10 - Heathers

Buster Keaton and Clyde Bruckman crossed two unlikely themes when they made The General for United Artists: the Southern Lost Cause in popular culture and Keaton’s vaudeville straight man act. The result is a tale all too well told in Hollywood: an expensive flop that comes to be appreciated over time but still has problematic content. Join me as we ride with Keaton through several misadventures on the Locomotive Texas and cherish one of the silent cinema’s greatest gems. 

All music on the Super 70 Podcast is written and recorded by either Roziland MacPhail or Joshua Cunningham. You can find both of them on Soundcloud.com and Roz at Roziland MacPhail.com on on twitter @rozilandmacphail. 

Works Cited:
Pittenger, William. Capturing a Locomotive: A History of Secret Service in the Late War. 1885.
Kramer, Peter. The General: BFI Film Classics. Palgrave Press. 2016.

EP11 - The General

Michael Curtiz was already one of the most successful directors in Hollywood when Warner Brothers practically forced him to cast Joan Crawford in one of the most famous melodramas ever made. Crawford, an American household name who was recognized as one of the most professional actors in Hollywood, led a devastating supporting cast in this 1945 mystery that tells us more than we ever wanted to know about sexual politics after the Second World War. Join me as we talk about the feminization of men, the wasteland of masculinity, the attack on femininity, the impact of the Second World War, and that dreaded word no one wants to discuss…incest. 

The Super 70 Podcast is available on iTunes, SoundCloud, Google Play, and my website at www.thatdylandavis.com. All music on The Super 70 Podcast is provided by Rozalind MacPhail, Joshua Cunningham and Peter John Ross whom you can all find on SoundCloud. 

Works Cited
Williams, Linda. Feminist Film Theory: Mildred Pierce and the Second World War. Female Spectators: Looking at Film and Television. Ed. E. Deidre Pribram. Verso, London. 1988. Haralovich, Mary Beth. Too Much Guilt Is Never Enough for Working Mothers: Joan Crawford, Mildred Pierce, and Mommie Dearest. Velvet Light Trap. University of Texas Press. 1992. Schrader, Paul. Notes on Film Noir. The Film Genre Book Ed. Barry Keith Grant. University of Texas Press. Austin 1986. Sochen, June. Mildrid Pearce and Women in Film. American Quarterly vol 30, No. 1 Spring 1978. Harvey, Sylvia. Woman’s Place: The Absent Family of Film Noir. Women in Film Noir. Edited by E. Ann Kaplan. BFI Publishing. Corber, Robert J. Joan Crawford’s Padded Shoulders: Female Masculinity in Mildred Pierce. Camera Obscura, Duke University Press.

EP13 - Mildred Pierce

Walter Wanger was a convicted criminal rebuilding his career when he collaborated with television director Don Siegel and screenwriter Daniel Mainwaring to make a film of Jack Finney’s science fiction serial. What they were going for was a cheap B-movie like The Blob or Godzilla that could run second bill in drive-in double features. What they got was a lasting monument to our nations fears in 1956 America: Communism, Conformity, and the color red. Let’s watch Kevin McCarthy and Dana Wynter try to survive the Invasion of the Body Snatchers (1956). 

The Super 70 Podcast is available on iTunes, SoundCloud, Google Play, and my website at www.thatdylandavis.com. All music on The Super 70 Podcast is provided by Rozalind MacPhail, Joshua Cunningham and Peter John Ross whom you can all find on SoundCloud. 

Works Cited
Kawin, Bruce F. Children of the Light. The Film Genre Book III ed. Barry Grant. University of Texas Press. Austin 1995. Kracauer, Siegfried. Hollywood’s Terror Films: Do they Reflect on an American State of Mind? Commentary 2 1998. Samuels, Stuart. The Age of Conspiracy and Conformity: Invasion of the Body Snatchers. American History / American Film: Interpreting the Hollywood Image. New Expanded Edition. Edited by John E. O’Connor and Martin A. Jackson. Continuum, New York 1988

EP14 - Invasion Of The Body Snatchers 1956

Fellow Film Aficionado Dave Anderson joins me as we watch James Cameron’s seminal 1984 B-Movie Masterpiece, The Terminator. On the surface there seems to be something bold and original going on. Arnold Schwarzenegger in a role you can understand, Linda Hamilton is our female hero in a time of hypermasculine film, and a high quality in film production hides the bottom dollar spent to shoot this cyborg killer tale. Underneath lies a weave of movie homages from Metropolis, Blade Runner, and Alien to explore socio-economic themes on our minds in the 1980’s, big government, big business, and our deep seated fear that technology is double sided blade that’s just a little bit sharper on one side. 

The Super 70 Podcast is available on iTunes, SoundCloud, Google Play, and my website at www.thatdylandavis.com. All music on The Super 70 Podcast is provided by Rozalind MacPhail whom you can find on SoundCloud. 

Works Cited
Sean French. The Terminator BFI Modern Classics. 1996.

Edgework

EP17 - The Terminator

Last month I asked a friend of mine, Dave Anderson, to come onto the show and watch The Terminator with me. We had so much fun that Dave recommended I turn the mikes on while we shot the shit for a couple of hours. This special report is the result of that fine night, about six beers, and the enjoyment of two friends who had not seen each other for a number of years.

The Super 70 Podcast is available on iTunes, SoundCloud, Google Play, and my website at www.thatdylandavis.com. All music on The Super 70 Podcast is provided by Rozalind MacPhail whom you can find on SoundCloud.com.

Works Cited:
Stevenson, Jay. The Complete Idiot’s Guide to Philosophy. Alpha, 2005.
Thompson, Hunter S. Fear and Loathing on the Campaign Trail ’72. HarperCollins, 197

Special Report With Dave Anderson

Mike White of The Projection Booth Podcast takes the reigns of The Super 70 Podcast as he guides you through one of the most successful independent films ever made, Quentin Tarantino’s Pulp Fiction. Winner of the Cannes Film Festival’s coveted Palm D’Or in 1994, Pulp Fiction scored seven Academy Award nominations and started or restarted several acting careers. It’s development, marketing, and distribution by Miramax Studios revolutionized independent cinema and its’ unconventional narrative structure, extensive use of homage and pastiche have led some to call it the prime example of postmodern film. Since its release it has been one of the rare films made after 1990 that has been grouped into the top 100 greatest films ever made and in 2013 was selected by the Library of Congress for preservation in the National Film Registry of the United States. But while we may recognize talent, we also may be missing a few things on the surface and ask ourselves when does pastiche stop and plagiarism begin? Join Mike as he takes you scene by scene through a film as well known now as Casablanca, by a director as well known now as Hitchcock. 

The Super 70 Podcast is available on iTunes, SoundCloud, Google Play, and my website at www.thatdylandavis.com. All music on The Super 70 Podcast is provided by Rozalind MacPhail whom you can all find on SoundCloud.

EP18 -  Pulp Fiction

Ridley Scott was on a run when he handed down Kingdom of Heaven, a Crusader Epic that seemed ambitious and ballsy so soon after 9/11. A bomb that was initially torn to shreds by critics and panned by the audience, Kingdom of Heaven’s Director’s Cut was released almost immediately with more mixed results. While some can see the steady hand of a master filmmaker, others wondered why Scott had changed so much history with the effect of making a more racist and more sexist film. Dave Anderson returns to the Hacienda to go with me scene by scene through this problematic but engaging story of the Latin Kingdom of Jerusalem. Listen to us argue about history, plot, and what the Leper King can tell us about the Second Gulf War. 

The Super 70 Podcast is available on iTunes, SoundCloud, Google Play, and my website at www.thatdylandavis.com. All music on The Super 70 Podcast is provided by Rozalind MacPhail whom you can find on SoundCloud.com.

Works Cited:
Tyerman, Christopher. God’s War: A New History of the Crusades. Belknap Press, Cambridge. 
Pages, Meriem. From Crusading Queen to Damsel in Distress: Re-Imagining Sibylla of Jerusalem in Kingdom of Heaven. Gender and History Vol. 30 No. 3. October 2018. Pp. 696-703
Hayes, Dawn Marie. Harnassing the Potential in Historiography and Popular Culture When Teaching the Crusades. The History Teacher, Vol 40. No 3 (May 2007) pp. 349-361
Biddick, Kathleen. Unbinding the Flesh That Remains: Crusader Martyrdom Then and Now. GLQ: A Journal of Lesbian and Gay Studies, Volume 13, Number 2-3, 2007, pp 197-225. Duke University Press. 
Pages, Meriem. Saracens Abroad: Imagining medieval Muslim Warriors on the Silver Screen. Essays in Medieval Studies, Vol 32, 2016, pp5-21. West Virginia University Press.
Schlimm, Matthew Richard. The Necessity of Permanent Criticism: A Postcolonial Critique of Ridley Scott’s Kingdom of Heaven. Journal of Media and Religion, 9; 129-149, 2010 Routledge.

EP19 - Kingdom Of Heaven Director's Cut

Sergei Eisenstein was 27 years old when the Central Executive Committee of the Communist Party decided to celebrate the 20th anniversary of the 1905 Revolution with literary, stage, and screen commissions. Assigned to make a film about the mutiny that happened aboard the Czar’s star battleship, Eisenstein used the opportunity to deploy his five theories of editing, or what the French cineastes called ‘montage.’ What resulted was hailed from its' premiere as the most popular film ever made, shown in movie houses all over Europe, and in the private screening rooms of Hollywood. The Battleship Potemkin did more than make Eisenstein a star, it put the Soviet Union on firm footing as a competitor in the world’s most popular art form.

Works Cited:
Eisenstein, Sergei. FILM FORM. Harvest Books, New York, 1977.
Leyda, Jay. KINO: A History of the Russian and Soviet Film. Collier Books, New York, 1973
Bascomb, Neal. Red Mutiny: Eleven Fateful Days on the Battleship Potemkin. Mariner Books, New York, 2008.

EP21 - Battleship Potemkin

Paul Emig came back into the Hacienda to talk about our favorite topic. We find the droids we’re looking for in Felicity Jones and Emelia Clarke. We marvel at the behind the scenes drama that infected both movies, thanking both Gareth Edwards and Tony Gilroy. And in the end we will take it all despite its flaws. Join Paul and I as we hammer out our love and questions regarding Rogue One and Solo.

Special Edition With Paul Emig - Star Wars Part II

Join Dave Anderson and I as we spend the weekend on Galveston Island pontificating on the two most controversial films of the 1980’s, why films with problematic racism should be protected as time capsules, we celebrate the release of Bruce Lee’s Greatest Hits by the Criterion Collection. Then we wrap up discussions by arguing over how to pronounce the names of Hollywood legends Sydney Poitier and Kirstie Alley.

Special Report - Oh Galveston! With Dave Anderson

The Super 70 Podcast is a commentary you play along with the film for scene by scene analysis, or you can just listen in your car. Dylan Davis is the author of "FLYNN!", Dating Virginia, Buffalo Seine, and Threshold. He is a reader, listener, and appreciator of culture. Find him at www.thatdylandavis.com and on Twitter @thatdylandavis #super70podcast

The Super 70 Podcast

Pinned to spotlight

Popular tracks