Celebrating the Art That Shall Endure Throughout Time

Episode #40 — Cries and Whispers / Private Dancer / Mississippi Alligator / Love Will Tear Us Apart / The Incredible Journey / Buffy the Vampire Slayer

Cries and Whispers podcast review

The Immortals have hit 40 episodes and they’re equally as shocked! It’s Pedro’s time for a bonus episode which mean there will be an extra amount of gleeful energy. That will be needed because they’re reviewing the very depressing Cries and Whispers. Also they listen to Tina Turner, eat a gosh darned alligator, get torn apart by love, remember the Homeward Bound movie and discuss a whole lot of Buffy the Vampire Slayer. Get excited!

Intro 0:00 – 1:19
Indiana Jones and the Last Crusade 1:19 – 23:11
Cries and Whispers 23:11 – 40:02
Private Dancer 40:02 – 47:43
Mississippi Alligator 47:43 – 55:39
Love Will Tear Us Apart 55:39 – 1:04:31
The Incredible Journey 1:04:31 – 1:11:50
Buffy the Vampire Slayer 1:11:50 – 1:41:54
Outro 1:41:54 – 1:46:19


–Roger Ebert’s review of Cries and Whispers

–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

    This is a story I told Austin and Sarah last weekend, but need to share again. During my first media production class in freshman year at Emerson College, I had a great teacher, Maurice Methot, who was the first to open up a multitude of unimagined, unconventional possibilities regarding film and art for me. A few weeks in, he told us he was going to show us a clip from a film which he described as “your entire film school in ninety minutes–a movie where everything creatively and technically is done right.”
    That film was “Cries and Whispers” and I have been obsessed with it ever since. Most of it is burned into my memory even though I have seen it four or five times.
    Now I think Sarah made a strong case as to why the film isn’t deserving of a high henge rating. “Emotional torture porn” isn’t a bad descriptive phrase. Here’s where I disagree: the argument that a film that tells you something about life that you never knew before is worth more…that’s a great argument I fully get behind! But I also have long subscribed to George Orwell’s idea that the best book (or work of art) is one that tells you what you already know. The art that either confirms you’re not alone or reminds you of something you can easily forget.
    Each time I see “Cries and Whispers” I experience a strong physical reaction–even recently when Austin showed me a two-minute portion–and I have walked away with more understanding of the desires, darkenesses, and small but vital joys that accompany the human journey.
    Its minimalism and visual composition have shaped my storytelling–I at this moment am working on a novel/screenplay project which would not be possible had I never seen this film–and it has made me more empathetic as a dramatic reminder, a necessary reminder, of what may be lurking within our souls–what lasts within us–that rarely comes out because people don’t want to let each other see our turmoil and pain. I too easily can be ignorant of my emotional needs and, even easier, the needs of others. This movie puts so much emphasis on emotional heartbreak and tragedy as a way of saying “Hey, this is all happening behind closed doors and in the soul, so don’t forget it.” And I need that.
    Couple it with four great performances and the Sven Nyqvist cinematography and I give this five henges.

    One other comment: terrific album. I think “Better Be Good To Me” is an example of everything that could be annoying in 80s pop, but “What’s Love Got To Do With It” and the covers are great. My favorite song on the record is actually “Private Dancer,” and I went down a rabbit hole that revealed the reasons for why I think you all weren’t hot on the song.
    I had always known that Mark Knopfler, who I think is one of the most underappreciated geniuses of rock, wrote the song. What I didn’t know is that Dire Straits recorded it for their (very good) “Love Over Gold” album in 1982, only to take it off the record when Knopfler decided that the song sounded weird when a man sang it. Knopfler ultimately offered the song to Turner, who recorded her vocal OVER THE ORIGINAL DIRE STRAITS BACKING TRACK FROM TWO YEARS EARLIER. With one difference–contractually Knopfler couldn’t appear on the new recording, so his part was replaced with a new solo from another guitar icon, Jeff Beck. (Who does not sound like Knopfler but tries to, with what I now realize is a pretty weird result.)
    So Turner is singing “Private Dancer” to an arrangement designed to accompany a voice that was not hers, and which stretched out to seven minutes because eighties Dire Straits LOVED long, languorous songs. It still sounds great, I think in part because Turner and Knopfler both share the “warm growl” quality you described, and also she hits the high notes in the chorus with a suitably straining emotional power. This ranks with “We Don’t Need Another Hero” and “Simply The Best” as my favorite Turner song.

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