The Art Immortal

Celebrating the Art That Shall Endure Throughout Time

Episode #39 — Whatever Happened to Baby Jane / Peter Gabriel / Goodbye Yellow Brick Road / The Nutcracker and Other Tales / LA Law

Whatever Happened to baby Jane podcast review

The Immortals are back and they really are questioning living together. Things have gotten…tense. In similar news, they all watched Whatever Happened to Baby Jane! They also listened to the sweet (and weird) tunes of Peter Gabriel, they don’t eat Australian fish, they learn who actually is Elton John, they go to war against rats, and Austin learns that LA Law is so freakin’ insane. Get excited!

Intro 0:00 – 6:10
Whatever Happened to Baby Jane? 6:10 – 30:33
Peter Gabriel (I) 30:33 – 42:44
Coral Trout 42:44 – 42:59
Goodbye Yellow Brick Road 42:59 – 53:40
The Nutcracker and Other Tales 53:40 – 1:08:21
LA Law 1:08:21 – 1:22:14
Outro 1:22:14 – 1:28:57

 

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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. Definitely a stone cold classic episode. 39 in and they keep getting better!
    I had never seen “Whatever Happened to Baby Jane?” before and you gave me a reason after years of having it on the list. Two things I wanted to add to the discussion. First, in talking about the classic Hollywood style used in the film, I saw it most not in the cinematography or staging but the editing. This film is 2:15 and it could have been at least fifteen minutes shorter; there are so many scenes that stretch on five or ten seconds too long to no added effect (people driving cars, needless pans around rooms), not even that of building the tension. I found myself getting occasionally bored during some stretches when nobody was talking and I had a feeling what was coming. That said, any time Davis and Crawford WERE talking was riveting, and the final twist I genuinely did not see coming.
    Second, in stressing how Davis got the Oscar nod and Crawford did not, I was surprised you failed to mention someone who DID get an Oscar nomination: Victor Buono as Edwin Flagg. Buono was 24 when he made the film and went on to two decades of steady character acting work (because so many films and TV shows needed an overweight, mildly campy man) until he died of a heart attack. Flagg is an interesting character for me because he represents something I am familiar with: the struggle and tenacity and willingness to do anything (almost) when trying to make it in LA, a struggle Jane and Blanche never really knew because one or the other was always successful and caring for the family. And Buono plays him with gallows humor and a touch of menace: I was never quite sure what Flagg would do, and what he ultimately does seems very much in character.
    Incidentally, Robert Aldrich had an entire series of movies about the dark seedy underbelly of show business, including “The Big Knife” (written by Clifford Odets), “The Legend of Lylah Clare,” and “The Killing of Sister George,” a 1968 big studio film about a lesbian love triangle on a soap opera set. He also worked with the same screenwriter and heavy-handed composer on several other films, including the highest-grossing movie of 1967, “The Dirty Dozen.” (Which I have realized the past week is “Suicide Squad” if they had done everything RIGHT.)

    Going to side with the boys regarding “Peter Gabriel,” although Sarah and Austin’s discussion that this is the “everything Peter Gabriel could do” mixtape is very accurate. Gabriel in Genesis was known for experimental song structures and getting into the characters he sang about (“Supper’s Ready” is my favorite example) and that pokes through on songs like “Moribund the Burgermeister” and “Excuse Me,” but I love the diversity here. I think the whole record is good with three GREAT songs: “Solsbury Hill” is a song I will love until I die, but also “Modern Love” is a fantastic rocker that should have been a hit…Gabriel wouldn’t sound so poppy again until “Sledgehammer…” and “Here Comes the Flood” is sad and beautiful epic of a closer. “Down the Dolce Vita” is almost there…the melody is a bit weaker but I adore the arrangement.

    And Elton John!!! One of my all time favorites. “Goodbye Yellow Brick Road” is not one of my top Elton songs but you have given me a new appreciation for it with that discussion of the vocal arrangement. I will be very interested to hear you review the album…I love the album but side three is one of the most fascinating and disturbing stretches of music in the history of rock. (No telling why!)
    Since Pedro is interested in listening to more Elton, here are three records I would recommend. “Tumbleweed Connection” is a magnificent, underrated concept album about the old west which is great start to finish. My father introduced me to Elton with “Madman Across the Water,” his favorite album…the title track, “Levon,” and “Tiny Dancer” are maybe the three best songs of his career apart form “Your Song” (which I think is PERFECT). And “Songs From the West Coast” is my favorite album, a beautiful, surprising, moving piece of work that has spoken to me through my life.
    My parents also watched “L.A. Law.”
    And I think a “Buffy” watch should include
    Some Assembly Required
    Doppelgangland
    Hush
    The Body
    Once More…With Feeling
    and any smattering of episodes from the first five seasons

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