Watch This With Rick Ramos

Bill Paxton's Frailty

Making the jump from in front of the camera to behind can be daunting, powerful, embarassing, and/or self-important and excessive. Numerous actors have made the jump from actor to director with varying degrees of success. In 2001 character actor Bill Paxton would helm a psychological thriller centering on religious visions and violence that would challenge assumptions in a way rarely seen in studio films. Although more Criminal Minds in style and presentation than your average cinematic effort, Paxton's Frailty is a sensitive and thoughtful handling of material that could have easily fell into exploitation. Paxton presents a strong and balanced narrative that surprises and forces intelligent thought. Featuring Paxton and young actors Jeremy Sumpter and Matt O'Leary, as well as a young Matthew McConaughey, and the briliant and intimidating Powers Boothe. Take a listen to see if our interpretations stir any emotions in you. It's a fun talk and you don't want to miss out. As always, we can be reached at gondoramos@yahoo.com - Our Continued Love & Thanks

. For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https://www.buymeacoffee.com/watchrickramos - Anything and Everything is appreciated, You Cheap Bastards.

Tommy Lee Wallace's It (1989)

Andy Muschietti's It (2017)/It Chapter Two (2019)

This year Halloween fell on a weekend and WatchThis fans can rejoice as we drop a Horror-inspired episode for this Season of the Witch. In 1989, ABC adapted Stephen King's bestseller, It, for the small screen. Featuring an all-star cast of television notables (Richard Thomas, Richard Masur, Tim Reid, John Ritter, Annette O'Toole, and Harry Anderson) as a group of adults remembering and battling a literal demon of their past (an always brilliant Tim Curry as the murderous demon clown, Pennywise) Tommy Lee Wallace's It would capture audiences fear muscle and remain a powerful memory for the next three and a half decades. How good was the film, though? That is a question that we tackle this week and one which leads us into the big-screen remake from 2017 and 2019. This version of "The Losers Club" - including Jessica Chastain, James McAvoy, and Bill Hader (among others) - battle Pennywise (this time portrayed by Bill Skarsgård) in a film that tackles abuse, childhood trauma, adolescent sexuality, bullying, and - of course - fear of clowns. Both films are bathed in nostalgia, unresolved issues, and a palpable pop culture legacy and - although - there is a great deal to recommend in the remake, it still lacks considerably. Artistic miscalculation is the drive of our conversation. Take a listen to see if our arguments and interpretations stir any emotions in you. It's a fun talk and you don't want to miss out. As always, we can be reached at gondoramos@yahoo.com - Our Continued Love & Thanks.

For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https://www.buymeacoffee.com/watchrickramos - Anything and Everything is appreciated, You Cheap Bastards.

Clive Barker's Hellraiser (1987)

In 1987 Horror author Clive Barker introduced movie audiences to the soon-to-be-iconic Pinhead, The Cenobites, and a puzzle box that promises and fails to rival Pandora. A Supernatural Horror Film based on Barker's novella The Hellbound Heart, Hellraiser would signal the beginning of a nearly half dozen entry Horror series that has spanned nearly forty years. Focusing on BDSM and Hedonism, Barker's film is an overrated, nostalgic, and terribly inept entry into the Horror genre. It has a powerful and captivating villain in Doug Bradley's Pinhead and a gang of supernatural Cenobites that hint at a much better film. That film promised an exploration of the torture of pleasure and pain . . . an erotic thriller that dives into the idea of hedonism and the punishment that would come with it . . . Barker's film fails in every aspect of what is promised. This week we take a look at this "Horror Classic" in an attempt to understand what is missing and what the appeal is in what is realized on the screen. Take a listen and let us know what you think. As always we can be reached at gondoramos@yahoo.com. Our Continued Love & Thanks.

For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https://www.buymeacoffee.com/watchrickramos - Anything and Everything is appreciated, You Cheap Bastards.

Michael Wadleigh's Wolfen (1981)

From time to time filmmakers finagle an original idea out of the studios. in 1981 Director Michael Wadleigh would adapt Whitley Strieber's (best known for the novels The Hunger and Communion) 1978 debut novel, Wolfen, for theaters. A 70s era Horror/Thriller set in a decaying and bombed-out Bronx, Wadleigh confuses and surprises his viewer with a film that seems to be moving in a direction of Native American/Indigenous stereotypes including shapeshifters, guardian spirits, and native mysticism only to develop into a police proceduarl regarding eco-terrorism, urban development, political hucksterism, and land rights. There is truly a deeper and more powerful film here than one would expect from a major studio (in this case Orion producing and Warner Brothers distributing). Wolves, Murders, Legends & Myths . . . all employed in an original and exciting way. Featuring stand-out performances from Albert Finnery, Gregory Hines, Diane Verona, Tom Noonan, and Edward James Olmos, Wolfen is a film that surprises and excites. Take a listen, watch the film, and let us know what you think. As always, we can be reached at gondoramos@yahoo.com - Our Continued Love & Thanks.

For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https://www.buymeacoffee.com/watchrickramos - Anything and Everything is appreciated, You Cheap Bastards.

David Cronenberg's The Fly

In 1958 Director Kurt Neumann would direct a classic of the horror genre, the Vincent Price led, The Fly. A Horror Classic in the Mad Scientist genre, the film would be re-made (re-imagined?) almost three decades later, by the great Canadian filmmaker David Cronenberg. Taking the basic idea of a science-fiction/mad scientist story, Cronenberg would expand and develop the themes of the story. Scientific Ethics coupled wtih Technological Risks would be the focus of the '86 film. Featuring groundbreaking - and Academy Award winning - make-up and special effects (iconic teleportation pods) - by Chris Walas and Stephen Dupuis, Cronenberg's film would catapult character actors Jeff Goldblum (scientist Seth Brundle) and Geena Davis (as his love interest and investigative journalist) into A-List roles. A Body-Horror Classic that has inspired and transformed Modern Horror, Cronenberg's production value has been felt throughout cinema. Take a listen and let us know what you think. As always we can be reached at gondoramos@yahoo.com - Our Continued Love & Thanks.

For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https://www.buymeacoffee.com/watchrickramos - Anything and Everything is appreciated, You Cheap Bastards.

Tom Holland's Child's Play

In 1988 Director Tom Holland introduced movie audiences to Chucky, a Good Guy Doll who was meant to be Your Friend to the End. Possibly the last time Horror films would create an icon, the evil and possessed Chucky (voiced by Brad Dourif), would embody a strange late 80s Horror fiction that would draw on animatronic dolls that were popular at this time (Teddy Ruxpin and My Buddy) as well as classic dolls including G.I. Joe, Barbie, Cabbage Patch, and Raggedy Ann & Andy. The point was an old one . . . something about childhood was terrifying. Bringing The Chucky Doll to narrative life through cinematic voodoo tropes and physically through special effects including puppetry, animatronics, and forced perspective using little people, Child's Play would be a slasher hit spawning a half dozen sequels, a television series, and a theatrical reboot in 2019.

Although Child's Play is in no way a great film, it does have its charm with good performances from Catherine Hicks, child actor Alex Vincent, Dourif, and a slumming (and possibly bored) Chris Sarandon. There are problems returning to a 40+ year old movie, but when the fun kicks it in you find it worth the watch. Take a listen and let us know what you think. Questions, Comments, Complaints, & Suggestions can be directed to gondoramos@yahoo.com - Our Continued Love & Thanks.

For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https://www.buymeacoffee.com/watchrickramos - Anything and Everything is appreciated, You Cheap Bastards.

Tobe Hooper's The Texas Chainsaw Massacre 2

"After a Decade of Silence . . . The Buzz is Back"

And with that tagline audiences wer re-introduced to the Sawyer Family: The Cook, Chop-Top, and Leatherface. In 1986, Director Tobe Hooper would return to Texas for a sequel to - arguably - the greatest Horror film in the History of Cinema (respectfully acknowledging George A. Romero's Night of the Living Dead & Dawn of the Dead and John Carpenter's Halloween; a film that many cite as the first and most important Slasher film ever made. In August of 1986, audiences were not prepared for Hooper's new take on his original classic. An over the top, violent, slasher, comedy, horror film seemed the only possible approach to the material. Slapstick, Shticky, and Ridiculously Gorey, Hooper would create a sequel similar in appearance to the original, but Bizarro in execution. Bigger, Wilder, and with a set-design Grander (but only barely equal) to the original film (as well as beautifully bloody make-up effects by the legendary Tom Savini), Hooper would fulfill a contractual obligation to Cannon Films that would baffle the Schlock, Low-Rent Studio known for such garbage as Ninja III: The Domination, Death Wish 2 & 3, and Missing in Action. Chainsaw 2 is truly bewildering and a testament to directorial drive and inventiveness. (Google the original theatrical poster substituting The Sawyer Family for The Breakfast Club in that classic one sheet.) It's not a movie for everyone, but it definitely is a strange kind of brave, creative, and hilarious masterpiece. Take a listen as we dive in and argue these points. Qustions, Comments, Complaints, and Suggestions can be directed to gondoramos@yahoo.com - Our Continued Thanks & Appreciation.

For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https://www.buymeacoffee.com/watchrickramos - Anything and Everything is appreciated, You Cheap Bastards.

Meir Zarchi's I Spit on Your Grave (AKA Day of the Woman)

In 1978 Meir Zarchi's I Spit on Your Grave (originally titled Day of the Woman) was released in theatres and would become infamous as one of the most polarizing and controversial films ever made. A rape and revenge picture following a young woman visiting the country to write her novel, the story quickly turns into one of sexual violence and exploitation. Camille Keaton portrays Jennifer. The ninety minute film would subject to her to numerous acts of physical, mental, and sexual violence. Without nuance or any kind of artistic skill, Zarchi's film has been criticized by many and applauded by others. The film would find notoriety through the criticism of Roger Ebert who called it, "a vile bag of garbage . . . a movie so sick, reprehensible and contemptible that I can hardly believe it's playing in respectable theaters,Attending it was one of the most depressing experiences of my life." This week Mr. Chavez & I look at this cult classic and in our continued dive into the world of exploitation to understand the "artistic and theatrical" need to present cinematic violence against women as the required entry to stories of female empowerment. It's uncertain if questions are answered, however the importance of asking the questions is invaluable. Take a listen and let us know what you think of this heartfelt and troubled conversation. As always we can be reached at gondoramos@yahoo.com. Our Continued Thanks.

For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https://www.buymeacoffee.com/watchrickramos - Anything and Everything is appreciated, You Cheap Bastards.

Wes Craven's Last House on the Left

This week we begin an examination of Violence in Cinema, but primarily Violence Directed Against Women in Cinema, beginning with a look at West Craven's 1972 Grindhouse "Classic" Last House on the Left. An infamous and controversial cult film, Craven's re-imagining and updating of Ingmar Bergman's 1960 Swedish Classic, The Virgin Spring, is not an easy viewing. A low-budget, dirty, ugly, and disturbing film, Craven's effort is definitely amateurish, however there is (as far as I am concerned) the hint of a filmmaker with a developing style and need to challenge his artistic sensibility. A decade before A Nightmare on Elm Street and the creation of Freddy Krueger, Craven would take a rape and revenge fantasy and use it as a calling card to enter the World of Cinematic Horror. We discuss the film, but more importantly we discuss the style, violence, and themes that have always existed, but have been given life and power through this film. Take a listen and let us know what you think. As always we can be reached at gondoramos@yahoo.com -Our Continued Love and Thanks.

For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https://www.buymeacoffee.com/watchrickramos - Anything and Everything is appreciated, You Cheap Bastards.

George Sluizer's The Vanishing

Imagine Not Knowing. Imagine the struggle to move on if the person you love disappears from your life. In 1988 Dutch filmmaker George Sluizer would make one of the most subtle, tense, and troubling Thrillers cinema has known. The Vanishing (originally released with the Dutch title, Spoorloos) is the story of a couple whose lives are mysteriously and tragically upended when the girlfriend disappears during a road trip . . . Without a Trace. The beauty of Sluizer's film is that we as the audience know exactly what has happened and are forced to watch the sadistic game of a amateur kidnapper and killer as he satiates his desire to plan, carry through, and discover his talent for kidnapping and murder. All the while, we watch the husband lose his mind as he continually obsesses over what has happened to her coupled with his desperate and futile attempts to find her. Obsession and Guilt are paralleled with Intricate Planning, Patience, and Seizing of Opportunity. A story of abduction and obsession that is neither exploitative nor gratuitous, but is simply a realistic presentation of how it would happen. Culminating in one of the most disturbing and hopeless endings in all of cinema, The Vanishing is a powerful and thought-provoking film. Take a listen and let us know what you think. Questions, Comments, Complaints, & Suggestions can be directed to gondoramos@yahoo.com - Our Continued Love & Thanks.

For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https://www.buymeacoffee.com/watchrickramos - Anything and Everything is appreciated, You Cheap Bastards.

John Alan Schwartz's Faces of Death

Few films have live in the minds and memories of Gen X like 1978s Faces of Death. Presented as a documentary examining the fears, fascinations, and cult surrounding death and dying, John Alan Schwartz's film is a controversial and legendary exploitation classic. A film that was famously "Banned in 46 Countries" (a claim that is dubious, at best), Faces of Death was a taboo adolescent rite of passage that was talked about and sworn to (a documentary of real and violent footage) throughout cafeterias and playgrounds across the United States. Almost fifty years later it is clear and documented that much of the film is staged scenes and violent re-enactments. A VHS series best seller that scattered video stores with other "legendary" titles such as The Last House on the Left, The Hills Have Eyes, It Lives & It Lives Again, and I Spit on Your Grave AKA Day of the Woman, FoD lives rent free in our memories featuring images of dog fights, alligator attacks, and - probably most famously - an electrocution and the infamous monkey brain scene. Arguably the film that popularized shockumentaries, Faces of Death (and the memories we have of said film) speaks volumes to the culture. Take a listen as we reminisce and examine the impact of this "video nasty" classic. Questions, Comments, Complaints, & Suggestions can be directed to gondoramos@yahoo.com - Our Continued Love and Thanks.

For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https://www.buymeacoffee.com/watchrickramos - Anything and Everything is appreciated, You Cheap Bastards.

Eric Steel's The Bridge

This week Mr. Chavez & I continue our dive into challenging films examining difficult subjects. In 2004 director Eric Steel and his crew focused his camera - day and night/7 days a week - on San Francisco's Golden Gate Bridge. Since it's opening in May of 1937, the bridge has been one of the most popular suicide sites in the world. Steel's film attempts to understand the struggle of suicide and (rather unsuccessfully) the appeal of The Golden Gate Bridge for this purpose. Talking with family and friends, friends and loved ones, and in one case a survivor of the jump, Steel's film is a sad and troubling look into the reality of choosing to end one's life. The psychology of suicide is not given nearly enough focus and Steel's film feels empty and unfocused. But what is there . . . the discussions from friends and loved ones, the regret, acceptance, and confusement revealed are heartbreaking. As is often the case with this podcast, the film is a starting point for a discussion that will go far deeper than the film achieves. Take a listen and let us know what you think. As always, we can be reached at gondoramos@yahoo.com - Our Continued Love & Thanks.

For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https://www.buymeacoffee.com/watchrickramos - Anything and Everything is appreciated, You Cheap Bastards.

Robinson Devor's Zoo

listener discretion advised

Sometimes a documentary is simply facing an uphill, unwinnable, unsatisfying battle. Such is the case with Robinson Devor's 2007 investigation into the strange and perverted network of zoophiles (those people sexually attracted to animals). Chronicling the case of a Washinton State farm that hosted bestiality sessions, Zoo is a frustrating look into a world that simply does not make sense. Critically-acclaimed and respected on the festival circuit, Devor's film attempts to find the humanity in this strange underground community, while struggling to document these people as more than simply a punchline. That punchline would make it's way into pop culture with the 2005 death of a man known online and in the film as "Mr. Hand" after his accidental death from injuries sustained during a sexual encounter with a horse. The film describes the coming together of these people through early internet chat rooms, the incident - its rationalization to those in this world - and the aftermath of the disturbing incident. As always we look at the subject, the success or failure of the film itself, and its relationhip to the culture. At the very least an interesting discussion, we are troubled by and compelled to understand this film. Take a listen and let us know what you think. We can be reached at gondoramos@yahoo.com - Our Continued Love & Appreciation.

For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https://www.buymeacoffee.com/watchrickramos - Anything and Everything is appreciated, You Cheap Bastards.

Kirby Dick's SICK: The Life & Death of Bob Flanagan - SuperMasochist

Listener Distrection Advised:

There are a number of films that burrow into the hearts and minds of its viewers. In 1997 the Los Angeles poet, writer, performance artist, comic, and BDSM celebrity, Bob Flanagan would succumb - at the age of 43 - to cystic fibrosis (a disease that is comparable to drowning as one's lungs constantly fill with mucous). The final years of Flanagan's life would be documented by filmmaker Kirby Dick in SICK: The Life & Death of Bob Flanagan - SuperMasochist. Unlike any film these podcasters have seen, Dick's film chronicles Flanagan's brave and inspirational struggle; a struggle that he would use to gain control of his artistic integrity, expression, body and life. Through a lilfe of extreme sado-masochism, self-expression, and sexual exploration Flanagan would achieve this self-empowerment. A disturbing, sad, and - finally - inspirational film, SICK, is a powerful piece of documetary filmmaking. We are proud to tackle it this week. Take a listen and let us know what you think. As always, we can be reached at gondoramos@yahoo.com - Many Thanks.

For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https://www.buymeacoffee.com/watchrickramos - Anything and Everything is appreciated, You Cheap Bastards.

Nick Bromfield's Fetishes

This week we dive into the world of High-End S&M/Bondage through the lens of provocateur director Nick Bromfield - Fetishes. A 1996 HBO documentary in the American Undercover series, Bromfield's camera walks into New York's exclusive, expensive, and fascinating world of dominatrixes, fantasy, race-play, whipping, humiliation, and dungeons. Lorded over by Mistress Raven and a small staff of women who engage in and fulfill the fantasies of New York's elite through bondage, humiliation, wrestling, fetishizing, feminization, suffocation, and wrestling among others. There's a great deal to experience and Bromfield's camera exposes the acts and many of the participants. Join our discussion as we atttempt to understand this world and decide whether Bromfield captures fully the complexities of this subculture. As always, we can be reached at gondoramos@yahoo.com - Our Continued Thanks.

For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https://www.buymeacoffee.com/watchrickramos - Anything and Everything is appreciated, You Cheap Bastards.

John Dahl's The Last Seduction

Continuing with an idea that we started a few episodes back focusing on Lena Olin in Romeo is Bleeding, this week Mr. Chavez & I take a look at an overlooked neo-noir, erotic thriller from 1994 featuring a stand-out performance from Linda Fiorentino. Our basic idea is the difficulty of casting "dangerous and strong" female characters with intimidating and daring actresses. So, why was Linda Fiorentino - an intelligentl and overpowering actor - not given the opportunities to break big? In John Dahl's cult classic, The Last Seduction, audiences were never given the chance to watch a performance that defied the narrative conventions of redemption, nurturing, or karmic comeuppance that is standard in Hollywood films. Fiorentino gives a performance that ranks with the great femme fatales of cinema including: Barbara Stanwyck (Double Indemnity), Johan Bennet (The Woman in the Window), Marie Windsor (The Killing) and Ann Savage (Detour). As Bridget Gregory/Wendy Kroy, Fiorentino is a sexual force without any apologies or sense of regret. It's a performance Fiorentino fully dives into with equal parts sex appeal, intelligence, and danger. Featuring Peter Berg, Bill Pullman, and classic character villain, J.T. Walsh, Fiorentino is a lesson in femme fatale manipulation. Take a listen and let us know if you agree. As always we can be reached at gondoramos@yahoo.com - Many Thanks.

For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https://www.buymeacoffee.com/watchrickramos - Anything and Everything is appreciated, You Cheap Bastards.

J-P Valkeapää's Dogs Don't Wear Pants

This week Mr. Chavez & I explore Finnish Cinema with a look at J-P Valkeapää's Dogs Don't Wear Pants. A brave and troubling look at emotional trauma, BDSM, and auto-ertotic asphyxiation, Valkeapää's 2019 erotic black comedy is an exploration of the erotic underground subculture of dominance and submission. There's a great deal to admire in this film including the lead performances of Pekka Strang as a widowed single father struggling with death of his wife seven years earlier, and Krista Kosonen as the woman he meets and whose dominatrix skills he becomes consumed by. A film that is not for the squeamish or prudish, but one that gives insight into - some of - the workings of this sexual subculture. Not all of the film works, but what is there speaks louder than the majority of American films that claim to tackle sexuality. Take a listen, give the movie a watch, and let us know what you think. As always, we appreciate the continued love and support. We continue to be available to you at gondoramos@yahoo.com. Many, Many Thanks.

For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https://www.buymeacoffee.com/watchrickramos - Anything and Everything is appreciated, You Cheap Bastards.

Peter Medak's Romeo is Bleeding

In the 1990s low-budget studio films on the periphery (in this case Polygram Filmed Entertainment) were being made with casts that - in some cases - would become mainstream stars throughtout the decade and the upcoming milennium. 1993s Peter Medak directed Romeo is Bleeding, is an under-watched, hidden gem with a cast that almost defines the 1990s - Gary Oldman, Annabella Sciorra, Roy Schreider, Juliette Lewis, Michael Wincott, and the brilliant, Lena Olin. A New York set Neo-Noir that explodes beyond the Hayes Code limits of the genre, Medak's film is a platform for a darkness of material that is rarely seen in mainstream Hollwyood. Building on a violent and highly sexualized narrative that reminds today's viewer and expands on the memories of late 80s/early 90s Cinemax Erotic Thrillers (as well as Sharon Stone and Basic Instinct), Romeo is Bleeding is a showcase for Oldman's burnt-out, self-destructive cop, Jack Grimaldi, and Lena Olin's daring, highly sexualized, and dangerous, femme fatale, Mona Demarkov. This week Mr. Chavez and I discuss the brilliance of these two performances and the film that underserves their talents. We dive into what the film gets right and how a better director (in our opinions, Paul Schrader) may have produced a masterpiece. Take a listen and let us know what you think. As always we can be reached at gondoramos@yahoo.com - Our Continued Love & Thanks.

For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https://www.buymeacoffee.com/watchrickramos - Anything and Everything is appreciated, You Cheap Bastards.

David Lynch's Wild at Heart

This week we return to a World of Dreams and the Land of Oz through the dark and chaotic eyes of David Lynch (January 20, 1946 - January 16, 2025). A Homage/Love Letter to the classic MGM masterpiece, Lynch's 1990 Wild at Heart is a pulsating cinematic shotgun blast. The story of young lovers breaking parole and crossing the country to find a future that is never clear, Lynch's dark romantic comedy is unlike anything seen before, but inspiring to cinema for decades after. With allusions to Fleming's 1939 Technicolor Classic, as well as nods to Elvis, Americana, and the great tradition of cinematic road trips, Wild at Heart cannot be adequately described, it can only be experienced. This week Mr. Chavez & I describe our relationship to this film (his history with it and my first viewing nearly a decade ago). We discuss our history (and dismissa - minel) of Lynch followed by the embracing of this great American filmmaker (also mine). With particular attention paid to the over the top brilliance of all involved in front of the camera, including: Nicolas Cage, Laura Dern, Diane Ladd, Harry Dean Stanton, Isabella Rosellini, J.E. Freeman, Calvin Lockhart, Grace Zabriskie, Crispin Glover, and Willem Dafoe. We are thrilled to dive into a great film from an incredible director. Take a listen and let us know what you think. As always, we can be reached at gondoramos@yahoo.com. Our Continued Love & Thanks.

For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https://www.buymeacoffee.com/watchrickramos - Anything and Everything is appreciated, You Cheap Bastards.

Victor Fleming's (w/Directorial Contributions from George Cukor, Richard Thorpe, and King Vidor) The Wizard of Oz

A long time coming, this week's episode focuses on the 1939 MGM Technicolor Classic The Wizard of Oz. In the early days of the studio system, each studio focused on a specific genre, Metro Goldwyn Mayer was the home of the musical and The Wizard of Oz is one of the greatest, most remembered, and most loved musicals of all time. Adapted from the L. Frank Baum classic series of novels - The Wonderful Wizard of Oz (1900) - the film an eagerly antiicipated adaptation that would prove one of the most difficult, problematic, and dangerous productions in the history of cinema. An American Classic, the film is a staple in the memories of film lovers the world over. Nearly as well known as the film itself are the stories of abuse and production difficulties which plagued the film. From the verbal and physical abuse suffered by Garland, as well as her studio forced drug addiction that was born during the making of this film, thru cast changes from life-threatening reactions to make-up (Buddy Ebsen as the original Tin Man) and Margaret Hamilton's near death experience, as well as four different directors, The Wizard of Oz is a miraclulous achievement. With some of the greatest and well known characters in cinema (The Wicked Witch of the West, Dorothy Gale, The Scarecrow, The Tin Man, The Cowardly Oz, Toto, and The Great & Powerful Oz), songs that continue to inspire, as well as a following from children to their parents, grand-parents, and great grandparents, the Gay Community, Pink Floyd and Dark Side of the Moon fans, The Wizard of Oz is a film that over eight decades later continues to captivate, enchant, and inspire. Take a listen as we make a long overdue return to this American Cinematic Classic. Questions, Comments, Complaints, & Suggestions can be directed to gondoramos@yahoo.com - Our Continued Thanks. \

For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https://www.buymeacoffee.com/watchrickramos - Anything and Everything is appreciated, You Cheap Bastards.