Celebrating the Art That Shall Endure Throughout Time

Episode #32 — Metropolis / Modern Sounds in Country and Western Music / Lucuma / La Mer / Maisy Goes to Playschool / Hancock’s Half Hour

Metropolis podcast review

The Immortals are still without Sarah! She is still on her heroic quest to Georgia while the rest of the Immortals go to the industrial land of Metropolis for their second silent venture. They also determine whether Ray Charles is deaf or blind, whether La Mer is only good because of Bobby Darin, whether Maisy learned anything useful at playschool and whether or not Tony Hancock is even funny. Get excited for this plus excruciating heat!

Intro 0:00 – 5:18
Metropolis 5:18 – 32:10
Modern Sounds in Country and Western Music 32:10 – 40:40
Lucuma 40:40 – 41:25
La Mer 41:25 – 52:52
Maisy Goes to Playschool 52:52 – 1:05:09
Hancock’s Half Hour 1:05:09 – 1:13:42
Outro: 1:13:42 – 1:21:39


–The Alloy Orchestra score of Metropolis, as heard at EbertFest

–Leave your own henge ratings at TheArtImmortal.com

–Be sure you leave an iTunes review so Pedro can give you a compliment on air.






Join us Thursday next as we discuss more things. Until then, email or tweet us your thoughts, leave a review on iTunes and other crap every podcast asks you to do. (But we love that you do it!)

Artwork by Ray Martindale

1 Comment

  1. Andrew Rostan

    Here’s something interesting: there is a pretty good huge-budget anime film called “Metropolis” that riffs on Lang’s movie. I saw it back in 2003. The climactic action sequence is set to…Ray Charles singing “I Can’t Stop Loving You.”
    I’m a big fan of “Metropolis” and I was lucky enough to see the restored version at the Music Box. I can understand why it’s a difficult watch for some; there was a great episode of “The Canon” which concerned itself with the different language and viewing style we bring to silent films, and especially those with this heavily German expressionist style in which emotion and sensory experience mean more than a coherent plot. As a precursor to so many films, from all modern sci-fi to “Modern Times,” it holds up so well.
    There is one cut of “Metropolis” I have always wanted to see. In 1984, Giorgio Moroder of all people recut the film to 90 minutes and added color tinting and his own music, including Freddie Mercury and Adam Ant songs.
    Tony Hancock is one of those people who was extremely influential but seen by so few today. If people don’t want to seek out Hancock’s one-man show, in 1966 he had supporting roles in two all-star big-budget comedies and is good in both of them. He plays an ambitious airplane salesman in “Those Magnificent Men in Their Flying Machines” (which I saw on Oscar Sunday this year at the Music Box in its original 70mm print…it was glorious) and a grumpy, irrepressible Scotland Yard detective trying to solve the death at the heart of “The Wrong Box,” a bizarre, fascinating Robert Louis Stevenson adaptation. Hancock holds his own with Michael Caine, Peter Cook & Dudley Moore, Sir John Mills, Sir Ralph Richardson, and Peter Sellers playing a quack abortionist who lives in a flat/consulting room filled with cats.
    And the moment Austin talked about “Bye Bye Love” I sent him a message because THAT MOVIE IS AMAZING AND SARAH NEEDS TO WATCH IT.

Leave a Reply

Your email address will not be published. Required fields are marked *

© 2020 The Art Immortal

Theme by Anders NorenUp ↑