Does THE BRIDE! earn its exclamation mark?

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0:00

And coming to Mubi in the UK this February, we have the brilliant Sentimental Value by Joachim Trier. We reviewed this when it came out. He's the guy who directed the Worst Person in the World film, did really well at Cannes, won the Grand Prix, bunch of European awards and is now nominated for nine Academy Awards and eight BAFTAs. I think it's fantastic. I think it's really moving, really exciting, really funny, but also insightful. And I think Joachim Tri is one of the finest directors working today. It's definitely one of the best films around at the moment.

0:11

To stream the best of cinema, you can try mubi free for 30 days@mubi.com kermodanmayo that's m u b I.com kermodomayo for a whole month of great cinema for free.

0:39

Hey, Simon, how was your trip to Copenhagen with the family?

0:53

Well, it was very nice, thank you very much.

0:56

Great. How come you never call when you're away?

0:58

I'm not wasting good holiday money calling you.

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Well, it sounds ideal, but did you have one in mind, perchance?

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Well, it's funny you should ask. Yes, I do. It's called Saily and it's an ESIM service app brought to you by the creators of NordVPN.

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Oh, yeah, we like them, don't we?

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Well, that all sounds great. I don't suppose you've got an offer code to share whilst you're feeling generous?

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1:49

Still not calling you. Before we begin, a quick reminder that you can become a Vanguardista and get an extra episode every Thursday, including bonus

2:01

reviews, extra viewing suggestions, viewing recommendations at home and in cinemas.

2:11

Plus your film and non film questions answered as best we can in questions.

2:16

You can get all that extra stuff via Apple Podcasts or head to extratakes.com for non fruit related devices.

2:20

There's never been a better time to become a Vanguardista. Free offer now available wherever you get your podcasts. And if you're already a Vanguard Easter, we salute you. Well, I was going to start the show. Hello.

2:27

Right here.

2:52

But you.

2:53

Are you eating? Have you got a mouthful?

2:54

No, no, no, I'm done.

2:56

No, but you were just a second ago. What's for breakfast?

2:57

I was having a. So I'm. I'm at Ali's house again because, you know, as I said, the roof is still being done and so what. This is Ali's office and that's Ali's guitar behind me. And Ali provides me with a tray which has got coffee, water and it's like being in a hotel. A biscuit. This is a Meredith Drew says. Meredith Drew since 1830. Irresistible oat crunch.

3:01

So now the, the only issue with oat crunch is that it has little flakes of oat in. And when you're doing radio and stuff,

3:26

picking them out of your teeth for the rest of the program.

3:33

Yeah. And just a little moment. You had quite a few of those.

3:34

Are you recovered?

3:41

Well, here's the closest that I can. This doesn't really work as an analogy. You know when you're downloading something and it. You've got the swirly ball and you're like 90 downloaded.

3:43

Yeah.

3:54

And the final 10 just takes forever.

3:54

Yes.

3:58

To arrive.

3:59

Yes.

3:59

I feel as though I am. I'm in that swirly ball of.

4:00

You're in the finalizing period.

4:04

Yeah. But my goodness me. Does it go on forever? So. Thanks.

4:05

You look better. You look better.

4:11

That's a filter I've obviously got on my laptop.

4:12

You know the filter that I use on. What's the one Zoom is the one that I was taught to use by Emma Fraud.

4:16

Yeah. That was the COVID one, wasn't it?

4:25

To make the touch up one. The touch up one that makes you look, you know, it makes you look sort of, you know, more glamorous. And I, I didn't know about it and once, once she told me about it, it was like, oh, my word, this is astonishing.

4:26

I think we both used it and didn't really look glamorous or. Well, but still. So on the show.

4:38

On the show, what are you going

4:45

to be talking about later on?

4:47

Well, we have a packed buffet of reviews. We have hoppers, which is the new film from Pixar, obviously. We spoke to Pete Doctor a few weeks ago. We have Peaky Blinders, the Immortal man, which, as the title suggests is the Peaky Blinders movie. There's the oat crunch in your throat.

4:49

I've got it.

5:05

We have the Bride, exclamation mark. The Bride, which is the new film by Maggie Gyllenhaal, and Mother's Pride with

5:06

our special guest, who is Martin Clunes, last seen, as he indeed wrote to us, last seen with a mouthful of vomit, being kicked in the head by Margot Robbie.

5:13

Yes. So there's a couple that was just on a train.

5:24

Yeah, that's right. So. So this Martin Clunes with two movies essentially to talk about. One is a little bit more of Wuthering Heights and the other is Mother's Pride, brought to you by the team that did Fisherman's Friend.

5:26

Yes.

5:39

Which kind of. That's sort of what you need to know.

5:40

It's even the title, Fisherman's Friends, Mother's Pride.

5:42

There you go. And in take two. What are you up to?

5:45

There's a new horror movie out and I have to say it's for horror aficionados only. Dolly.

5:49

Why is it just for aficionados only?

5:53

Well, it's. It's not something that's going to hit a big mainstream audience. It is definitely. It is a shudder release and it is. I feel like I'm reviewing it in advance, but it's a festival favorite, shall we say.

5:56

And in take two, you'll get even more of the good stuff, including five question Film Club. Each week we pick a film that's on streaming services. Mark tackles our five big questions.

6:09

Three. Your Majesty.

6:20

Thank you. Basically, the whole thing is to make you sound clever in the pub or annoy someone in your family.

6:21

Yes.

6:28

This week's choices were Deliverance, Wuthering Heights from 2011, and with nail and eye, plus as the bride. The Bride point exclamation is out this week. We'll have further discussion on your top Frankenstein related movies in one frame back. Plus questions in which we answer. The question is a whoopin and hollerin during exciting films such as crime 101 a violation of the code.

6:28

Yeah, it's an interesting one.

7:01

And whether there are regional differences allowed.

7:02

Regional differences in a whooping and a hollering.

7:05

Yeah, because in America they whoop and holler more than they do in.

7:07

Oh, right. Regional. Like that. I thought you meant like, you know, if you were. If you were like in Eckersley and someone went buy egg that's only what I'm on.

7:10

Okay, a couple of emails before we get to Hoppers. Yes, Matthew Payne says. Simon, Mark, I'm the father of a 26 year old woman who suffers from Tourette's. I've written this email in my over and over, but what I wanted to say boils down to this. Simon, you would never consider suggesting that someone should have, quote, had a conversation with Michael B. Jordan and Delroy Lindo and said that there is a man with Tourette's in the audience. So perhaps since there's a risk he might use words that will insult you and use racial words, racial slang, you don't come on stage. I watch my daughter hide herself away from the world that doesn't understand or accept that her ticks, and in her case, physical, not verbal, are involuntary. A world that won't make the effort to see the wonderful young woman beyond those symptoms. Every single day, we encourage her to try again, to find the courage to go out, to interact with the world around her. For her to hear your comments on a podcast that is such a beacon of tolerance and compassion. Hurt. I don't know what the solution is for those suffering from Tourette's. I wish with all my heart that I did, but I do know this, yes, ticks, whilst involuntary, can be extremely offensive and disturbing for people in the vicinity. Yes, mistakes were made in the aftermath of the baftas. But please compare the reaction to this event to the reaction to the President of the United States of America posting a cartoon depicting Michelle and Barack Obama as monkeys. Tinkerty tonk says Matthew. And down with Tourette's and racism. Up with love and respect and understanding. Still love the show, Steve. And hello to Jason from Matthew and Vic. Sticky pain. So first thing to say is, Matthew, thank you very much indeed.

7:18

Yes.

9:06

For corresponding as other people have done and obviously I'm very sorry for any upset that was caused because that was clearly not the intention.

9:06

Absolutely not.

9:16

And also education is a wonderful thing and we are both educated all the time by the correspondence to this show.

9:17

We are what?

9:23

I, I probably, maybe I made, you know, a cackhanded attempt at this, but my point is this one, something completely unacceptable and horrific happened at the baftas. It's point number one, which had. And this is not the broadcast, this is just in the BAFTAs. Yeah. I don't think anyone disagrees with that. The second point is, was there any way to prevent that happening? Now, if the answer to that is no, then which I think is, I think is the line that Matthew is taking, in which case we proceed. I was bringing that up as a subject, but so that, that's the issue for me. Was there any way to prevent it happening? Maybe there was, maybe there wasn't. But Matthew, I appreciate the email. Thank you very much.

9:24

Well, I mean, it's interesting, I mean, I've had a lot of conversations with people, you know, people from BAFTA people, broadcasters, about what happened and obviously the question of is there any way that it could have been prevented? And the general feeling is that as far as in the room is concerned, no, you know, it, the BAFTA did what they, they, they took the necessary precautions in terms of saying in advance, John Davidson is in the, in the audience. If you've seen, I swear you will know that John Davidson is a Tourette's campaigner and therefore you might hear, you might hear things that, you know that you, that you find alarming. That's, that's what it is. And it was contextualized. None of that was seen at the beginning of the broadcast. The second point is that the BBC, they just spectacularly dropped the ball with broadcasting it because what that then did was sent it out around the world. And actually it, the really, really horrible thing is the way in which people have jumped on this, commentators. I don't know whether you, you've seen, there have been some comedians who have thought that this was the stuff of comedy when it absolutely isn't. So, yeah, thank you very much for the email. I mean, I, I, my genuine feeling is that, that BAFTA did what was necessary in the room. I know there is a question about they, they should have probably spoken immediately afterwards to the two presenters who were on stage and who conducted themselves so spectacularly when that happened. If it had not been broadcast, we wouldn't be in this position. And I think anything that causes distress to any of the parties involved is a very, very bad thing. And I think that in order to move forward from this, what everyone has to do is to go, okay, what lessons need to be learned? Is there a way of, as we do this in the future? Because all, all the BAFTA were trying to do was to be inclusive and which is an absolutely good and right thing to do. And, and so I think it's perfectly legitimate to ask if there are any, if there was any, anything that could have been done. Stop it. I think the answer actually is in the room. No, in the broadcast. Yes.

10:10

Correspondence@kevin amayah.com Matthew, thank you. An incredible email from Saham Hussaini from Moonrise Motion Pictures. Yeah, Mark and Simon this week I finally caught up on the episodes I'd missed while traveling to Iran. I was there during the IRGC crackdown and the brutal actions of the Islamic Republic. A heavy and unforgettable time to witness firsthand indescribable experience. I just hope that I can make a movie about those days and nights. I've been back a few weeks now, and now with Iranians being freed from that evil monster brackets the Supreme Leader and free Iran that once felt impossible and free Iran that once felt impossible might slowly be shifting. The idea of you guys hosting a live show in Tehran.

12:30

Whoa.

13:16

Okay. Thanks, Sam.

13:17

Have we agreed to this?

13:18

Which I emailed you about during the Masha Amini movement and which you seemed to enjoy doesn't feel quite as far fetched anymore. Just a thought. I wanted to resurface and it truly feels good to hear your voices. Thank you and kind regards. Well, Sam, thank you very much for getting in touch and hopefully there is an email of hopefully there is a film that can be made about that appalling IRGC crackdown. Things have moved on obviously since then, but that sounds as though it's a story that definitely like Tiananmen Square. It's a story that needs to be told and maybe it'll take some time to be told whether you and I will ever present a live show in Tehran. But I mean, thanks for the invite, but you know, who knows? Never say never. Hey, Mark.

13:20

Precisely. Precisely.

14:05

So, okay. Correspondence at Kevin and Maycom. Thank you, Sam, for the, for the email. Let's talk Hoppers.

14:07

Okay, so this is the. The new film from Pixar. The company was formed in 1986 and as we know from our. When we were Talking to Pete Doctor this year celebrates its 40th birthday. This, I believe, is their 30th feature film. They were found. I didn't know this until I checked out. Founded on the. On 2-3-86 when Steve Jobs purchased the computer graphics division from Lucasfilm for 5 million. And then that company was then later bought by Disney. The first feature was Toy Story in 95, which was the first fully computer animated film. Since then, films such as Toy Story 3, Finding Dory, Incredibles 2, Toy Story 4 and Inside out have all grossed over $1 billion, being amongst the 50 highest grossing films of all time. So fair to say that Pixar have done fairly well for themselves. When we had Pete. When we had Pete Doctor on and you were reading out his cv, the kind of. The list of films in which he has been involved and it Was kind of like, you've made more. More of our favorite films than almost anyone else we ever had on the program. Yes.

14:15

It's like someone was. One person was responsible for pet sounds and. And Sergeant Pepper all at the same time. You know, it was just after a

15:20

while, you just go, okay, just talk

15:29

to us because you know what you're talking about.

15:31

Yeah, exactly. Okay, so Hoppers, directed by Daniel Chong, written by Jesse Andrews with a voice cast that includes Pepper Curda, Bobby Monaghan, John Hamm, Dave Franco, centers on a hyperactive young environmentalist, Mabel, who learns that her favorite professor at school has found a way of putting human consciousness into robot animals that can then interact with actual animals and can understand and speak to the actual animals. By the miracle of putting this. What's in somebody's head into this, the robot animal. Here is a clip from the trailer.

15:32

Doc, I need your help, Mabel. I'm in the middle of class, a class that you are enrolled in. Sup, Mabel? Come with me. The traditional methods to understand animals just weren't working. But we've done it, Mabel. We created a revolutionary technology that gives us unprecedented access to the animal world.

16:11

We call it Hoppers.

16:34

Huh? We put this into this.

16:36

Yes, yes.

16:38

This into this. Mabel, be careful.

16:39

Robotic. Robotic.

16:42

This here will rock your mama.

16:43

Whoa.

16:47

And they were in the same den.

16:48

No, I understand you.

16:50

What you doing? This is incredible. Okay, so you get the idea. So Mabel is thrilled because her favorite glade is about to have a freeway built through it. This is happening because all the animals have moved out. So therefore, they're allowed to do it. But the animals moving out includes the beavers, whose damming, you know, has made ponds and lakes. And now they're all gone, and it's just turned into this. This dry land. So she hops into a beaver identity. She finds. Into the beaver robot, she finds the animals that have all moved out of the glade. And it turns out they've all moved away because there is a terrible noise that has driven them away. A terrible noise that points to a wicked plot on behalf of the person behind the freeway. So then, you know, that's the. That's the setup of the plot. So the director said it was partly inspired by seeing those nature documentaries in which they have robot animals in as much as, you know, you get the little, you know, the cameras, things that interact with real animals. So there is somewhere in the background a kind of basis in real life that people have actually experimented with using mechanization in order to, you know, to. To get first Hand close up. Even though, you know, if we've all watched Spring Watch and things, you'll understand this. But he also wanted. He also wanted like a Mission Impossible style sense of undercover adventure, which is something that you get with with Pixar films. Apparently. Originally it wasn't beavers, it was penguins. And then Pete Docter, who was a guest on the show, who I may have mentioned before, said, you know, I think penguins have been done. I mean, you know, you had happy feet and you had Penguins of Madagascar and it's like, find something else. And then they found beavers. The director said, these animals can be ecosystem engineers and help everyone else survive. I just think that made me go, oh, man, beavers are crazy cool. The other thing is that the idea of putting the consciousness of a human being into the body of another thing so it can interact with this kind of in inverted commas, Alien World is very Avatar. So much so that in fact, one of the characters says, this is exactly like Avatar, which was.

16:52

And I've heard that on. On a clip.

18:58

Yeah.

19:01

On one of the ads that we were running at Greatest Hits. And doesn't someone immediately say, never say this is like Avatar?

19:02

Yeah, exactly.

19:08

Accepting that. That's like the worst thing that you could say.

19:10

Precisely, precisely. But it's kind of, you know, it's that as we all know, the way in which all the Pixar films work is that they are. They are cine literate and they're also aware of their cine literacy. So there was also a weird news story a while back in Hollywood Reporter that said that the filmmakers were advised to. To go easy on the. On the eco message because in the age that we're now in, suddenly anything that's ecologically friendly is woke up and therefore to be hated and stamped upon. Although, frankly, if they made any changes, I didn't notice them because it is definitely a film with an idea. You know, a film with an idea about let's be nice to animals and let's probably not build a highway through this thing. Here's the thing. I enjoyed it as I do with all Pixar movies. I mean, I've never seen a Pixar movie that I didn't get a lot out of. It doesn't have the classic narrative simplicity of the best pixel films. If you think about the best ones, right. Toy Story, when you're away, your toys come out to play. Okay. Or cars, Right. There's a world in which cars are people or monsters. Inc. The monster under your bed is real and they're scaring you because we scare, because we care or inside out. Your emotions are personified. They're people. It's numbskulls. They are people. Those are all things that you can kind of do in one sentence. The thing with this is you can't. It is much more convoluted and much more contorted. The narrative is frankly, fairly scrappy. I mean, it's interesting that Pete Docter was talking about how much they work with the story, how much they work with the script, and they're constantly revising and constantly. I have to say, in the case of this, the narrative is a bit all over the place. However, it's Pixar, so it looks good. There's loads and loads of. There was a guy, I was in a screening, the guy sitting behind me was incontrollable. Laughter. I mean, was laughing out loud in a way that almost made me want to turn around and go, I'm sorry, can you stop enjoying yourself so much? Because it's, I mean, you know, it is funny, but, but so it's. And it is, I think in terms of its, you know, if it's central themes, it is, as with, with all Pixar stuff, you know, it's on the side of the angels and it's on the side of the outsiders. It's, it's. Its heart is in the right place and it's good fun. I don't think it's a Pixar classic by any means, but because of the way that Pixar work, being not a Pixar classic, being just part of the Pixar catalog is still pretty good.

19:12

It's interesting. I was just thinking back to the Pete Doctor interview and I know why he didn't really answer the diversity and inclusion question which I was asking him, you know, has, has it changed? Do you have to make. It was addressing the point you just made and then he kind of answered a different question altogether. But you can only imagine that if you're the head of a big filmmaking company, there are all kinds of weird pressures which you have now, which you didn't have before.

21:56

But isn't it horrible that in these Trumpy times, being eco friend. I mean, you know, Trump is on record as saying that, you know, climate change is the biggest hoax forever, which of course it isn't. It's factually scientifically correct. It's.

22:24

There you go, bringing science into it again.

22:38

Bringing science into it. Yeah. It's like when people keep repeating on, you know, Trump says he's completely exonerated and no, he isn't. I mean, you know, there's other things, but he's not completely. Anyway. But what a weird time to be in, in which the very idea of it being inclusive is somehow potentially dangerous.

22:39

Yeah, Listen, back to the Pete Doctor interview just last week, in case you missed it. We'll be back in just a moment with mothers. Oh, no, not Mother's Pride. Mother's Pride.

22:58

Mother's Pride.

23:08

The Bride and Peaky Blindness. The Immortal Man. And our special guest is Martin Clunes. And we'll recap everything. Oh, sorry, Martin Kunzion. And we'll recap everything that's out in the UK and US cinemas. In the box office top 10 and the laughter lift top five. Your Majesty.

23:10

And of course, the Laughter Lift.

23:28

Mark, you know that scene in A Beautiful Mind where Russell Crowe plays John Nash and he's got intense mathematical scribblings on the walls of his shed?

23:35

I do. He wasn't bad in that, Russell.

23:44

Well, that's what my head feels like when I try to remember all the passwords and login details for my online shopping accounts.

23:46

Is this why I never get any birthday presents from you? Which is very convenient.

23:54

One of the reasons.

23:58

Anyway, you need to look out for the purple button at the top of the payment options. No need to log in. You can just complete your checkout with the tap of one button. Easy.

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25:03

Call 1-800-granger. Click granger.com or just stop by Granger for the ones who get it done. All right, so the box office top 10 this week at 12 SIRAT.

25:05

I'm sorry. That still makes me laugh. Doesn't make me laugh. But that. Top 10 at 12. Yeah, go ahead.

25:24

Number 12. I think it's J in Dublin.

25:31

Okay.

25:35

As in Jerry. Would that be, do you think? Yeah, I'm gonna.

25:35

I'm gonna go with that. Okay.

25:38

Dear Thud and thud. I recently attended an afternoon showing of Seurat, and for much of the runtime shared Mark's view that its shocking turns felt unearned. That was until the deliberately flat ending revealed. Lacks had no intention of narratively soothing us at all. Instead, he forces both his characters and audience into a period of reflection. That's when the penny dropped for me, and I'd respectfully urge Mark to give it another go. Whether Lacks deals with the terrible event midway through now feels irrelevant. I don't think he ever intended to. The film isn't intended in. To process trauma in a comforting way. It's about the randomness of life's horrors and our lack of control over them. What remains are brief moments of clarity, in this case embodied by the relentless rave beat and hypnotic refuge it offers those who chase it. I completely understand disengaging when the twists feel abrupt, but the technical mastery, the choreography, the immersive sound design, and the collective dread in my screening suggested to me that it had earned a second thought.

25:39

Okay, two things, weirdly. Lash. Lash is the. Is the pronunciation. Yeah. No, it's one of those things. It took me ages to find that out. Thank you for the email. You are in the majority. Most people feel the same way that you did. And I hope that when I was reviewing it, I did give some sense of the. Of the technical achievement of the film. I mean, certainly comparing it to Wages of Fear and Value Obscured by Clouds was intended to do that. I'm not going to watch it again because I had a. I had an email from a friend of the show who said, I'm. Who will remain nameless just because I haven't asked their permission to say this, who said, I'm so glad you said that, because my partner got to the end of the film and said, right now I'm just annoyed.

26:41

Ryan in Abingdon. I was surprised when Mark said he had issues with the third act of Surrott. As I didn't think it, I didn't realize it had one. For me, it has two acts, then ends abruptly. This movie is a journey with no destination, which can work in some films, but didn't in this one. When the credits rolled, I found it very frustrating. As for the journey, it felt like a Top Gear special. Every time they were trying to overcome an obstacle, I was half expecting them to cut to the punishment car. Taking the tongue down with the usual. Okay, so that's Seurat, number 12, number 10, number five in America, 21 pilots. More than we ever imagined.

27:30

This is a concert, concert film of the. The duo, twenty one pilots of whom I am not. With whom I'm not familiar. This wasn't press screen. So it was and so I haven't seen it.

28:04

Number nine is the testament of Ann Lee. Holly Cruise BA History MA History, University of Warwick. So obviously it's a smart cookie. Yeah, dear. Shaken it and quaking it. We saw the Testament of Ann Lee this weekend and loved it. It's a great example of a historical film which uses exaggeration or anachronism to help a modern audience understand what the characters are experiencing. It doesn't matter if the shakers really dance like that or that. Some of the superb soundtrack features an electric guitar wailing. It created powerful mood of intensity and emotional release which we in 2026 can fully immerse ourselves in. It's akin to A Knight's Tale which used Queen songs and modern dialogue to show audiences what medieval people would have felt when living with their own familiar songs and language. We also experienced an extra unintentional bit of immersion at our screening. The first half of the film prominently features Manchester Cathedral, a building which is just 200 meters away. Surely you mean point two of a kilometer from the view cinema, which you're

28:14

never going to get over that which

29:14

we saw and Lee in. After our screening we went to the cathedral, saw their display covering the cathedral's history, including a small section on Anne herself. So that sounds like a very good way to. To see from. Maybe go and see that and then see the movie or the other way around. So that's Ann Lee at the Testament of Number nine.

29:16

I was a big fan.

29:33

If you.

29:34

If you haven't heard the. The interview that Simon did with Mona Fastfold and Amanda. Seifred. Seyfried. Seifred, do go back and listen to it because it was. It was terrific hearing them talk about. I mean I really like the film and I think the dancing really, really, really works. But it is definitely true that it has proved divisive.

29:34

And number eight is Pegasus three.

29:51

So this is a Mandarin language motor racing sports comedy adventure that has become a huge hit domestically but wasn't press screened here. I'll. If it's still in the charts, I'll see if I can see it for next week's show, Zootrop.

29:53

So it's Pegasus 3, Zootropolis 2. So Pegasus win by one goal and Zootropolis is at number seven and number nine in America.

30:11

Still holding on in there. I mean, it's. What a run that film has had. It's. Yeah, I mean, I enjoyed it, but it's done really, really well.

30:18

Secret Agent is at number six, which is just fantastic.

30:25

And if you haven't seen it yet, go see it because you need to see it in the cinema. It's. It is an absolutely brilliant movie that moves between genres with fluidity and grace and is just. It's superb.

30:29

Crime 101 is at number five here, number six over there.

30:43

Terrific heist movie. I love a good heist movie. This is definitely a good heist movie. And I believe that we will have a conversation later on, you flagged up before about the correct way of responding in the cinema. If you're enjoying it.

30:46

Goat is at number four. Epic. Elvis Presley in concert is at number three here. And number four in America is a couple of. Couple of emails. First of all, so this is signed from. I. I think this is Ann Spud Viers.

30:58

Okay.

31:16

Not. And that. So what it says is from Ad Spud Villas, Indented Head, Australia.

31:17

Okay.

31:24

I thought, is that. What is. What is what is that? Is that her post or. Anyway, so I looked it up. An Indented Head is a coastal township in Victoria, Australia. So that's the name of the place that she lives.

31:24

Okay.

31:37

And she says it's very beautiful. Anyway, Dear Blue in Ring Bingo. What an opening. Baz's trademark razzmatazz was all over the screen, but was restrained to bookending the film. In the credits, Baz let Elvis tell his own story in Technicolor clips from Vegas. Intimate footage of rehearsals where Elvis's rapport with his band and singers is beautifully captured. An historic film of his early years, which added such poignancy now that we know how the history that followed. I never wanted it to end. The color, those jumpsuits. Elvis's beautiful face in close up. His performance, energy and humor, and the obvious respect and admiration of his fellow musicians and singers. Not to mention the audience itself. The hysteria, the hairdos, the sheer size and buzz of the audience. It was transporting. I'm searching for superlatives. Suffice to say, I love, love, loved it. And I can't wait to go again. I could have stayed in the cinema all day.

31:38

Yeah, fabulous. I'm on exactly the same page.

32:27

And an indented head Also, she's the Sunrise swimmer and winner of a box of oil pastels for coloring. In a picture of Smokey Dawson on the back of a cornflakes packet in 1960, John Penny says, dear, not a Colonel and not a Tom Parker.

32:30

Very good.

32:45

What a film. A captivating portrait of that beautiful, talented man. He really showed what a talented musician, arranged and vocalist Elvis was. It was obviously made with such love and appreciation that it left us both delighted to have seen it and heartbroken that it all ended so soon afterwards. My only criticism of the film came during the credits. Firstly, that awful disco remix that played over them. Having just seen some of the finest drumming of ever, why switch to the robotic inanity of a drum machine? And why put it so high in the mix? Which leads me to my second criticism, which why weren't the musicians and backing singers credited? For a film in which the quality of the musicians and their interactions with Elvis is basically the whole point, it seemed like a serious omission.

32:45

Are they not credited?

33:26

Yeah, I kind of thought that they

33:28

were, but I thought they were.

33:29

But anyway, that said, it's a joyous, uplifting spectacle and I'm wondering whether I'll be able to see it again before it disappears from cinema.

33:30

Okay. Yes, to that point, I thought they were credited. I, I, but I, I, you know, I, to be honest with you, as the film was finishing, I was, you know, was just so kind of overwhelmed and happy. I thought they were. You're absolutely right that they definitely should be, because the musicianship is out of this world. I mean, that's one of the best things about it. Simon, you were saying that, you know, you saw Van Morrison playing and there was all these musicians, including Georgie Fame on keyboards. Just keep watching him like a hawk. That is exactly what it's like, the musicianship in this on, it's, it is astonishing. Yeah.

33:38

Clearly everybody wanted to play those shows. Yeah. Number two is Wuthering Heights. Mr. Earnshaw, the patriarch of the Earnshaw household, is on the show in a bit. Is there anything else you wanted to say about Wuthering?

34:13

No. I mean, I think we've, you know, I think we've covered Wuthering Heights. One thing I will say is I did talk to Charles Gant, the kind of the box office maestro, the guy who really understands box office and can actually explain it. And I said to him, charles, simply, has it done well? And the short answer is, yes, obviously it has costs to cover. But he's, but basically, yes, it has done very well. And he compares it I'll talk about this a little bit more in take two, but he compares it to other literary adaptations, bronzy adaptations. Jane Austen puts it all in context. But yes, the short version is. It has done well.

34:24

And number one is Scream 7. Archie, Andy says to see screen. I went to see Scream 7 tonight and whilst it was great to see Neve back, the series should have ended with the last one. I am a fan of the franchise. I thought the last two were okay. Three and four, probably the weakest. There are some fun nods, callbacks and Easter eggs, some gory kills and great performances. No spoilers, but one cast member seemed to be having a blast. And whilst I had fun, seven was maybe a scream too far.

34:59

Yeah, well, you figure, I mean, Nev Campbell's back because they sorted out the. The money because she wasn't there, the one before because she wasn't being paid enough. And I don't think there's any way of looking at Scream 7 as anything other than an accounts balance sheet sheet. And I think it's. I think it's very depressing, particularly if, like me, you are old enough to remember having done an on stage with Wes Craven and the cast when the first Scream came out and remembering how exciting it was and how thrilling it was and how enthusiastically, you know, Wes talked about the film and I interviewed him a lot because he was one of those film directors who would, who would talk about his work because he loved talking about it, you know, So I think this is depressing.

35:26

Back in just a moment. Mark's going to be talking Mother's Pride, the Bride, Peaky Brinders, the Immortal Man.

36:11

There's a lot of.

36:18

There's an exclamation mark for Bride and there's a colon for Peaky Blinders. And our special guest, Martin Clunes on the way. Too good. And coffee creamers are made with farm fresh cream, real milk and contain 3 grams of sugar per serving. That's 40% less than the 5 grams per serving in leading traditional coffee creamers for a rich, delicious experience. Whether you enjoy your coffee hot, cold, bold or frothy, two good coffee creamers

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37:20

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37:26

Okay, it's time to talk to our special guest, who is Martin Clunes. So, you know he's been on telly, like, forever. Men Behaving Badly, Doc, Martin, William and Mary, Arthur and George. Goodbye, Mr. Chips. Movies? Shakespeare in Love, Nativity 3. Anyway, as you know, because we've talked about him a lot, he's just appeared in Wuthering Heights and he has a new film called Mother's Pride. You'll hear Martin Clunes after this bit from the trailer. You don't drink it with your eyes, mate. Nothing robust about that. If you want cocktails, I suggest you

37:34

go over the road with the rest of the prawn sandwich brigade.

38:06

I wonder what he's doing back.

38:09

Probably to bail his father out of the mess he's in. Hello, dad. This place is a madhouse. You coming?

38:10

Probably best I stay here. Are you scared she's gonna punch you, too? When everyone got the pub was always the life and soul of the village.

38:19

I may have been through the change, but I'd still get him on.

38:26

Oh, we've got 14 days to find 10 grand or they're gonna start repossession proceedings. We could do with Cal's financial help.

38:29

I'm pro. Jake blew the lot.

38:36

On what?

38:38

What do you think? On the High Life and hookers.

38:38

What's a hooker?

38:42

And that is part of the trailer for Mother's Pride. It stars Martin Clunes. He's in a couple of films at the moment, as you might have noticed. Martin. Hello. Welcome to the show.

38:43

Hi. Hi. How are you? I'm grand, thank you.

38:51

It's the year of Martin Clunes, I think.

38:53

It's weird, isn't it?

38:55

Is it?

38:56

Yeah, it does to me.

38:56

Yeah, I think it is. So you can literally go to the cinema and choose two Martin Clunes films. Has that ever happened before? No, I think.

38:57

Trying to think. The last film I was in was probably Shakespeare in Love. Yeah, it was a long time ago,

39:05

but that was the only. So if you wanted to see Martin Clunes in a movie, that was.

39:10

That Carry On, Columbus. I did a day of it, right. I was in the Russia House.

39:13

Okay, but now we have a choice. We have curmudgeonly, whiskery, grotty and very grotty Martin Clunes and kind of light hearted but slightly angry Martin Clunes in Mother's Pride. Thank you very much for emailing the show a couple of weeks ago. That was fantastic. Fun. But I did genuinely think that you stole the film. Certainly all the scenes that you're in, you're thinking, this guy has taken it away with him.

39:18

Well, I had a good part, didn't I? I mean, it was a really nice part. And Emerald's just a real joy to be directed by because she's. I've never known anyone be so clear about what they want out of everything. She was talking to one of the actresses and she went, I hate those buttons. Twenty minutes later, somebody came with scissors and changed the buttons on her.

39:49

Imagine having an opinion on buttons.

40:08

Well, it's kind, you know, work almost exclusively in television most of my working life, where there's never enough time, there's never enough money. And sometimes you get a director who turns up and goes, right, now, how are we gonna do this? And you think, what did you think the fee was for? But Emerald, every set just wants to know what the director wants. And because there was enough time, all the creative roles got to flourish. Susie Davis designs were just through the roof and the makeup artists. And nobody's rushed. I mean, obviously you're concerned about the time, but there is enough time. And that was just such a joy.

40:10

There was a bit in the interview with Emerald. I think I mentioned it afterwards when I mentioned you and how I thought it was such a great role. She punched the air. It was the only bit in the interview that she kind of appeared even more animated. That's amazing. Which made me think you were definitely her idea.

40:51

Yes, I was, yes. We nearly did something together before, but it didn't work out with dates and things. But. Yeah, I know. It's just I chuffed her bits to have a champion in the.

41:08

So she calls you, does she? And say. Well, she was the original came through

41:16

the agent and I yelled through from the kitchen to my wife, I said, who's Mr. Earnshaw in Wuthering Heights? It's Cathy's dad. I'll do it.

41:20

No, well, you would. It's slightly. She's played around a lot with the film anyway. And are you mainly the dad with bits of nastiness from the Missing Brother? Is that.

41:32

Yes, yes, exactly. So she's kind of lopped off the second half of the film after Kathy died. Second half of the book, after Kathy died. It's quite boring as well after, I

41:42

think almost all the different versions Stop there. That they don't do the. Don't do the second part. You said in your email that there was a moment where you were lying on the floor with vomit in your mouth, waiting to be kicked in the head by Margot Robbie.

41:51

Yeah. Try not to blink or breathe.

42:05

So remind us, what's happening there.

42:08

Well, I've died and she's come to visit me. And after a slightly brief period of mourning, she kicks me in the head.

42:10

And then you have to vomit.

42:18

Well, no, I didn't vomit. I was just holding it in my mouth so that as I whipped over like that, it flew out.

42:20

Right.

42:26

Well. And what is it?

42:27

I can't remember. Do you know, Simon, I've had so much fake vomit in my mouth as a professional. From men behaving badly to Doc Martin, it's been a constant, really. It's usually vegetable soup.

42:28

Well, I hope it's improved since back in the day. Now, when Mother's Pride starts. I recalled a conversation on an earlier version of this podcast with the great Tom Wilkinson, sadly no longer with us. And he was in a movie, I think it was called the Debt with Helen Mirren. And as the credits roll, it's more traditional. It has all the titles at the beginning, and then it says, and Tom Wilkinson.

42:39

Right.

43:03

So I said to him, I said, that was. That's always very impressive, isn't it? And he gave a whole long spiel about asking for the. And you have to ask for the.

43:04

And.

43:11

And I was thinking about this. Cause on your film it says, with Mark Addy and Martin Clunes. Oh, does it? Yes.

43:12

What's better with Or.

43:21

And. Well, I think. And thank you. This then led Mark Strong to contact the show to say, maybe there's a.

43:22

But I remember that.

43:27

Yes, I do remember that.

43:29

Where some actors like Steven Seagal should be a butt. Steven Seagal. So was that news to you that you were. And Martin Clunes, or did you know all about that?

43:30

Oh, somebody might have said something early on. I don't know. Yeah, I don't know with. I'm not bothered. No, someone else is.

43:39

So Mother's Pride. So take us into. So you're an angry publican.

43:48

I'm a sad publican.

43:53

Okay.

43:54

A sad, slightly angry publican who's down on his luck. His family's a bit fractured. This is briefly only at the beginning. It's sad. Just to sort of set it up. And the business is in trouble. They've got massive debts, and the debts are so big that they can't even afford any beer. And then one of my sons, played by John O Davis, comes home, who's a pop star who's had a bit of a breakdown, and he comes home, which annoys me. But then with no beer, he sets about from Grandpa's book, trying to brew beer to brew us out of trouble and hopefully gain the attention of the campaign for Real Ale and put the pub back on its feet.

43:54

Now, my understanding, looking at some of the announcements about this, the first reference I found was in 2022. So it was just out of COVID which of course was a disastrous time for pubs and for lots of people in different walks of the pubs particularly, just lost everything immediately. So everyone knows that pubs are struggling, but in this particular village, Martin, we've got your pub, which is struggling, but over the road, what's happening there?

44:36

Over the road is a smart pub owned by the son of the brewery that makes the beer for that pub, who's a bit smug.

45:05

He's a knob, isn't he, Really a bell end.

45:13

Yeah, he is. I think he gets hit.

45:16

Yes. Who hits him?

45:19

It might be me.

45:21

So it's a very British story and the team behind it were the team that did Fisherman's Friends. So it's like that, Basically, yes.

45:23

There are a lot of English films out there like Full Monty as well, people.

45:34

Exactly right. Starring Tom Wilkinson.

45:37

Starring Tom Wilkinson. Down On Their Upper. And Mark Addy, of course. Down On Their Uppers. Conquering Adversity, Getting Better and Fixing Things. It's a strange thing. We're good at those films.

45:39

We like them. We solve emotional turmoil and upset by, in this case, brewing good beer.

45:51

Nothing wrong with that.

46:00

No, absolutely not. So there is a splendid sort of conflict at the heart of it, and we know whose side we're on. But it all leads up towards a great contest. I mean, I'm not quite sure I think it's okay to talk about the end. We don't have to give away the ultimate end. But it's fantastic to distill all the kind of financial and emotional and familiar problems into a brewing competition.

46:01

Yes, I suppose it is, yeah.

46:28

Which is great. So tell us about the beer that your son, the pop star son, has come up with.

46:30

It's called Mother's Pride. Well, they realize that throughout the film that that's because they're missing my two sons are missing their mother. Yeah.

46:37

So did you get two samples? Any beer? Did you get any brewing knowledge along the way?

46:45

Not a drop. And no, I don't think so. I wasn't paying attention. But I was asked about. There was a stick in it, the brewing stick.

46:51

Oh, yeah, that's right.

46:57

I think that's made up. I don't know many brewers now.

46:59

There is some Morris dancing in this film.

47:03

Yeah, Disco Morris.

47:04

Disco Morris. Did you escape? I'm just trying to think, did you do anything?

47:06

I did a little bit of granddad dancing off to the side. It's mainly James, some real Morris dancers and Mark adding. Mark Addy can shake his stuff too. He's got that big man grace.

47:11

Yeah, well. And as you remind, it's full Monty, so he knows how to. He knows precisely how to do this thing. What I was surprised by was once I'd worked out the kind of film that we were in and enjoying the characters and enjoying the contest and being fairly certain I knew, you know, where we were going, the scene where you finally distribute the ashes of your wife with your sons, I was quite glad I was on my own at that time, you know, it's a very, very powerful scene.

47:20

It is tears. Yes. With that girl dancing, sort of. Who was. Yeah, yeah. I think it was the first scene I did in it and, yeah, it moved me, you know. Silly, isn't it? But, you know, you sort of put yourself there as an actor.

47:54

Yeah.

48:11

And it's. You just sort of imagine, you know, missing the love of your life at a later stage. Must be pretty ghastly.

48:11

You know, it is. I think it's because we've been having such a frothy time that suddenly we're surprised by the emotion of the moment.

48:20

It's nice though, isn't it? It gives the film a heart, doesn't it?

48:28

Yes, yes, yes, yes, absolutely. So 2026 feels to me as though it's been the year of Martin Clunes, really, that when we get to do a wrap up of 2026, that your Wuthering Heights and Mother. And do we see the downfall of Hugh Edwards sometime soon?

48:31

Yeah, I think so, yeah.

48:48

Have you filmed that? Yeah. Okay, so this is going to be a remarkable year for you.

48:49

I know, but I haven't got a job at the moment. It's all publicity.

48:54

What do you mean you haven't got a job at the moment? I haven't got a job. A gig at all?

48:58

No.

49:02

Okay. But the impression is you're working non stop.

49:03

It's annoying.

49:07

So here's the question, Martin, I think that you've been one of the most familiar faces on British television for a long time. You've mentioned a couple of the shows, what must be quite thrilling I would think, is to get to. Are you a national treasure? Yes. Okay, you're a national treasure. You get to your status having been on television for many decades. And the stuff that you're coming up with is surprising to us that you're getting fantastic roles. And. And it's possible. I mean, Pete Bradshaw and the Guardian. I don't look at any other comments at all, other than Mark. I only listened to Mark's comment. But Peter also said you stole the film.

49:08

Yes. I don't know what to say about that because I don't really think I do. I think Margot Robbie and Jacob Elordi are just magnificent.

49:44

Yeah. But they get enough attention. I think that's what we are.

49:50

They just got a lot of insults, I think. I think maybe I was the hardest to insult. Everyone seemed preoccupied with Jacob's skin tone and Margot's age. I don't think we discuss a lady's age, do we? And there was a lady who wrote a piece in the Times saying what they got right and what they got wrong. What does she mean, they got wrong? There's an all female Julius Caesar. Don't go and see that, love. And then there's an all male measure for measure. And then you stand in front of a Salvador Dali picture and say, he's got that wrong. I've seen men's bottoms.

49:52

I guess the Martin Clunes point that I'm trying to make is that you are getting exciting roles to do, new roles who are going to the movies. You know, Wuthering Heights is a number one film and you're one of the big stars that's in, and it must be thrilling to be getting those parts.

50:20

Yeah, it's very thrilling. It's very thrilling. Unexpected. Yeah. Yeah. Just as though it sort of felt like things were kind of winding down.

50:37

Just as it looked as though things were winding down. Do you mean retirement?

50:44

No, I just mean jobs in television. I mean, it's all a bit weird, television at the moment.

50:48

Is it harder now to get TV shows made than it used to be?

50:53

Well, I'm just another old white guy, aren't I? I've sort of had my turn in a way, I think.

50:56

Did you. Did you hesitate at all about the Hugh Edwards Show? What was it that made you want to do it?

51:01

I thought it was a really good script. And Michael Samuels, the director, had directed years ago, a thing, an adaptation of a William Boyd book called Any Human Heart. And it stuck in my mind as being so beautifully done as a piece of tv. William Boyd wrote The screenplay. And it was just so. Jim Broadbent was in it. It was so superbly directed. And when I saw that Michael was attached to this, I thought, well, I never thought I'd get the chance to work with him. And I did. And obviously it came with kind of risks or challenges or whatever, but that's good too, isn't it? Scare yourself every now and again. And, I mean, it wasn't pretty making it, but I think it's a story worth telling.

51:06

But as we sit here and talk now, you've got no new projects.

51:46

Actually, no. I did just get a script this morning.

51:51

There you go. There you go. See, I can't quite believe that that's not the case. Because Mother's Pride is fun. And the angry publican, Mick, we know that you can do that. Like the jukebox scene, by the way, I was trying to get a close. I was trying to look very intensely to find out what the jukebox was.

51:53

Oh, hey.

52:10

Because I like a jukebox. And it is very much a love letter to British pubs and British pubs need all the support that they can get. But I would think that the scripts are going to keep on coming because people will see you for doing Mother's Pride, which we know you can do. And now we're seeing you in Wuthering Heights, people going, wow, we'll have that guy.

52:11

Well, thank you for your prognosis, Doctor. I hope so.

52:32

Are there some. Are there people that you would love to work with if Emil Fennell gave you a thrilling experience? Because, you know, it was so clear what she wanted and it was great fun to be on. What would you like to do next?

52:36

Anything. I really don't mind. I've never had a career plan or think, now I need to do this or now I need to do that. I've just sort of run at the things that have appealed to me. I'd love to work with Emerald again. Again. I'd like to work with Michael again. I'd work with anyone.

52:47

And life on the farm is calling you back, I would think, quite often.

53:02

Yeah, Life on the farm's great. Yeah. Yeah, yeah. I sort of miss it when I'm away. I like London less and less.

53:06

Yeah. So you have to hold everything in balance. But in the end, back to the farm and back to your dogs.

53:12

Yes.

53:17

So to the question, what do we see you in next? That's gonna be the downfall of Hugh Edwards. Yes.

53:17

And what is that on Channel 5,

53:22

meantime, it's Mother's Pride, which is in cinemas now and it's Wuthering Heights, which is like top of the charts. Martin Clunes. Top of the charts, that's what you are. Martin, it's always a pleasure. Thank you very much indeed for coming in and I look forward to watching you in the movies in imax.

53:24

Oh, boy.

53:41

Many times in the future.

53:42

They did the cast and crew screening of Wuthering Heights in imax. That was off putting.

53:43

That's seeing your face very, very big with Martin Clunes. Thank you so much for coming in. Thank you.

53:48

Thank you very much.

53:53

Martin Clunes, who's also. He said he's very proud of the fact that in his email a couple of weeks ago, he's. He referred to us as Violet Swirl and Anita Bush.

53:55

Yes.

54:04

Apparently there's, I think there was a, a thing that they did in Doc Martin. They used to give silly names to patients who died or something like that, you know, so we were very much in that tradition.

54:05

Deceased patients in Doc Martin. Yeah.

54:19

Yes. So if Wuthering Heights showed us a surprising Martin Clunes mother's pride doesn't, doesn't. It shows us the Martin Clunes that we know and love. Yeah.

54:22

Incidentally, Martin Clunes version of being unemployed is not the same as anyone else's version of being unemployed.

54:33

Isn't it interesting how often and how quickly he said, yes, but I got no work. It's been amazing. If I got no work, no work at all.

54:38

Okay, so, you know, so as you said, this is a comedy from the. Behind Fisherman's Friends. Nick Moorcroft and Meg Leonard who co wrote Fisherman's Friends and then co directed the sequel about a failing pub that is that people try to save by. This kid comes back home. He's the, he's the guy, he's the landlord, he's the grumpy landlord. I do think that thing that you played in the clip about you want cocktails, go across the road, that was funny. And then the, the, the kid sort of thinks, okay, well what we'll do is we'll start brewing and then miraculously overnight they start brewing and that's going to become the. To save the. As with Fisherman's Friends, inspired by, in the very vaguest sense of the words, two true stories. One of a struggling pub in Wales, one of a. Which was bought by the local community, one of a family run brewery in Essex. Cast includes Mine Clunes, John O. Davis, James Buckley, Gabriella Wilde, Mark Addy, of course, which is the. The full Monty connection there. Luke Treadaway, Miles Jopp, Josie Lawrence. You know, I Mean, so it's, it's a cast of familiar faces about whom people generally feel very warmly. It's described on the poster as being about a family with a pint to prove. I'm gonna say that again. A family with a pint to prove. Aha. Thank you. And from the creators of Fisherman's Friends and boy is it from the creators of Fisherman's Friends. I mean, if you remember, some time ago there was a film called Swimming With Men, which I said was basically the pull Monty in as much as.

54:45

Okay, you're just mentioning that to repeat

56:19

because it's a good joke. You know, half the Rob Bryden film. Yes, that's right. Rob Bryden, yeah. And I said half as good and twice as wet. If that was the Paul Monty, this is the mild Monty buoyed up by the presence of Mark Addy, who I think you realize in that interview was in the full Monty because when he says it, you go, oh, yeah. And who gets, you know, there is Morris dancing involved. It is, however, weighed down by the same thing with the Fisherman's Friends, which is that none of it rings true in any way whatsoever. I mean, it's not, you know, it's not pulled points, it's, it's, it's pulled punches. You said frothy. You said up until the point that when there is the sad bit, it had been frothy. And I think frothy is absolutely the word. I mean, honestly, if Fisherman's Friends was like a kind of dewy eyed tourist version of Cornwall, because it's interesting, Fisherman's Friends came out around about the same time that Mark Jenkin was doing things like Bait. I mean, then this portrait of pub rivalry in bucolic settings, it basically makes the Martin Clunes doc Martin look like a searing expose of tough life on the streets, you know, of in a deprived coastal town. I mean, it's, it's so frothy, it's so glossed over, it's so completely artificial. I mean, running a pub is very difficult. Taking much of this film seriously is, I think, substantially harder. But the point is it doesn't want to be taken seriously. On the, on the, on the contrary, what it wants to do is embrace you in a, in a kind of warm hug, you know, a sort of warm pint of, of, of bonhomie. And that's what made Fisherman's Friends popular. I mean, Fisherman's Friends was not well received by critics, but it did very, very well with audiences. One thing I should point out, you said at one point that there was a moment when you were fairly sure where it was going, okay, there's a friend of mine who was. Was at the beginning of the screen. I won't name them, but they was. They were there at the beginning of the screening and they bailed out very early on because they had to get in the queue for another happening in the evening. And on the basis of the first 30 minutes of the movie, when I then saw them at the next screening that they had to get to, I said, okay, tell me, on the basis of the first 30 minutes of the film, what happens in the rest of the film? And they literally did this. This happens and this happens and did that happen? And then that happened. And it, you know, right down to the thing about the rival pub sending somebody over to do the thing, which I'm not going to spoil, but frankly, 10 minutes in, you know, that. That's.

56:21

And the spaceship. Did they guess the spaceship?

59:03

They guess the spaceship. The It's A Wonderful Life moment when everybody from the village turns up with the. You know, with the thing. So there is. There is nothing that you don't expect. I mean, there's the whole thing about the. The girlfriend with the posho guy who nobody likes, who's going to. To discover true love with the troubled folk singer. Incidentally, there's a moment in it, this is very sort of telling of the thing. There's a moment in it when the. When the singer comes back home looking like a. Looking like a. Like a bit of a star because he's a very handsome young man and somebody says, oh, lots of. Lots of famous people dress like homeless people. And you go, he's dressed like homeless people. What. You know, what.

59:05

What looks pretty fine to everybody else.

59:51

Exactly. It's in like in the world of Balamari. I mean, it's, you know, what you remember in, in Zoolander, there's the whole thing about derelict, derelict. She doesn't even look derelict chic. He just looks chic. And, and the real, the real L competition is preposterous. The Martin Clunes has a movie illness thing is preposterous. He was brilliant in Wuthering Heights and I, whilst I was listening to that interview, I just looked for an image of him in the. Is it the downfall of Hugh Edwards or the. Whatever it is of Hugh Edwards? There's a still. I mean, he looks. I mean, just the still looks really, really good. Martin Clunes could do this in his sleep. And it is. It is exactly what you think it is. Honestly, I Didn't think it was any good. But then I didn't think Fisherman's Friends was much good and that took a bunch of money. So it's, you know. Hey, what do I know? Were you a fan?

59:53

Cup of tea and a biscuit.

1:00:52

Goes down well with a cup of tea And a biscuit, Mrs.

1:00:53

Yes, because. And so therefore. And therefore ticks that box.

1:00:56

I think so, yeah.

1:01:00

It's not. It's not. You don't have to see this in the cinema. I'm sure it'll be on a streamer very soon. And if you want to watch a show on family, then maybe, you know, this is going to be fine. So, you know, it has its place, but it's the mo. But it is, as you say, entirely predictable from. From the start, I would say.

1:01:02

Yeah.

1:01:21

And Mother's Pride is the. She says the name in case you. It's the name of the beer because.

1:01:22

But it's only the name of the beer at the end of the film. Yeah, because it's like it's called the Drovers all the way through and then at the very end they change it. And my friend, who only saw the first half an hour, even predicted that.

1:01:27

Okay, very good. Anyway, so that is. So that's Mother's Pride, more to come. And also it's the ads coming up. But first we have to, as we're in a jolly mood anyway. Yes. Step with gay abandon into our laughter lift.

1:01:40

Well, well.

1:02:01

Hey, Mark.

1:02:02

Hey, Simon.

1:02:03

What's made of leather and. Sounds like a sneeze.

1:02:04

I don't know.

1:02:08

A shoe. Off to a great start.

1:02:09

Oh, a shoe. A shoe, yeah.

1:02:11

By the way, I don't want to break the comedy drama here. This week I heard of a conversation between a mother and a young daughter.

1:02:13

Yes, this is true.

1:02:22

And the mother had the misfortune to cough and break wind at the same time, as you sometimes happens. And her daughter referred to it as taking a screenshot,

1:02:23

which I thought was very, very interesting.

1:02:35

Anyway, Mark, I had a very.

1:02:39

Oh, sorry, that wasn't part of the laughter Lift. That was an actual thing.

1:02:40

No, that's an actual thing.

1:02:43

Okay.

1:02:44

As in, you know, pressing two buttons on your.

1:02:44

Yes, I know, I know. Yes.

1:02:46

I had a very cinematic black and white dream last night. I dreamt I was a medieval knight on the beach in Ingmar Bergman's 1957 masterpiece the Seventh Seal, with a white faced, shrouded figure played by Bengt Eckerot. But instead of playing chess with him, I was cutting carrots. I was really dicing with death. Thank you.

1:02:47

Okay. That's all right. That was good. That was. Yeah, that was. That was worth the long run up.

1:03:07

Is that all right?

1:03:12

Yeah.

1:03:13

The same obviously is going to be true of this.

1:03:14

Okay.

1:03:16

Anyways, I was very shaken up by the dream. I needed a four pack of Adam's broadside to recover. So I popped out to my local high class booze agent when two masked men burst in. One of them said, this is a stick up. And the other one picked up a rather nice Invergordon 50 year old single malt and said, is this whiskey? To the boss man? Not as whiskey as wobbling a bank, but yes, it's up there. Cctv, it's everywhere. I'd leave it if I were you. And that's where you laugh hysterically.

1:03:16

Okay, that was. I mean, the punchline of that joke was in the middle of it.

1:03:46

Is this. Is this whiskey?

1:03:50

Is this whiskey? Not as whisky. Doing that. And then you did a whole thing about the cctv. Yeah, no, no, I think you should have stuck with the. With the dicing with death or the. Or the screenshot, which was actually the funniest joke.

1:03:51

Yeah. Okay. Well, I'm glad I put all that effort into that. Coming up, the bride and piggy finders colon, the immortal man. After this,

1:04:05

Your little one grew three inches overnight.

1:04:19

Adorable.

1:04:22

Also expensive.

1:04:23

Sell their pint sized pieces on Depop

1:04:25

and list them in minutes with no

1:04:28

selling fees because somewhere a dad refuses

1:04:29

to pay full price for the clothes

1:04:32

his kids will outgrow tomorrow and he's

1:04:33

ready to buy your son's entire wardrobe right now.

1:04:35

Consider your future growth Bird.

1:04:38

Budget secured. Start selling on Depop, where taste recognizes taste. Payment processing fees and boosting fees still apply.

1:04:40

See website for details. Hey there. I'm Kendra Adachi and my show, the Lazy Genius podcast helps you be a genius about the things that matter and lazy about the things that don't. And you get to decide what matters. I'm not here to tell you what to do. I'm here to give you a new way to see. Episodes of the Lazy Genius podcast are full of compassionate time management tips and permission slips to do what makes sense for you. New episodes drop every Monday. Follow and listen to the Lazy Genius podcast on the free Odyssey app or wherever you get your podcasts. So our email of course is correspondencervinomer.com let us know what you think of the bride now. Mother had an exclamation mark.

1:04:48

Mother.

1:05:35

We always said it like that. So the bride kind of needs to be said in that Kind of of the Bride with a claim.

1:05:35

It does. With a claim. Exactly. What's the pont de.

1:05:43

Exclamation point, exclamation, exclamation mark in French. Yeah, but anyway. Which just sounds more fun. But anyway. So it is the bride. It has got an exclamation mark. Take it away.

1:05:46

So this is the new feature from writer, director Maggie Gyllenhaal. If you remember, she made the Lost Daughter. Who did you interview for Lost Daughter with it?

1:05:56

I interviewed her.

1:06:05

You interviewed her. And she's, you know, she's great. She's like really smart and really eloquent and. And talks. Talks. A really good film, I think, actually,

1:06:06

I think it's her. It was her and Olivia Colman, as I. Wow. I think. I think that's right.

1:06:14

That's a very good double bill. But I. The Lost Daughter was, I think, cost around 5 million. This is closer to 80 million. So 15 times the budget and the scope of the film is like 20 times broader. So whereas the Lost Daughter was this kind of fairly stripped down adaptation of a novel, this is a sprawling, genre hopping, unruly epic of a movie which, like Frankenstein's Monster, I mean, it draws from, obviously from Frankenstein and from The James Whale 1935 Bride of Frankenstein. I mean, it is a collection of disparate body parts, literature, film, music, stuff, all bolted or sewn together in ramshackle fashion, jolted alive with a huge shock, hence the pont, you know, and it's not so much everything but the kitchen sink as let's throw everything into the kitchen sink and then see what floats. So it opens with a dead Mary Shelley narrating from beyond the grave, telling the story of how, having written Frankenstein that everybody knew about, she then died of a persistent illness, I think it was now thought to be a brain tumor, and ranting that Frankenstein wasn't the real story. The real story was the story of, and I will interpret this for broadcast, the mother fruitcaking Bride, which will now be recounted, will incidentally be recounted with a hint of possession, because there is a crack through which she will possess or, you know, have a ghostly haunting of the central character. So it's a bit bonkers from the beginning. So cut to, of course, 1930s Chicago, where else? Where Jessie Buckley's glamorous, but apparently unhinged, very drunk party girl, as the phrase used to be, then is suddenly possessed of the spirit of Shelley. She has a fit, she bursts out in a rage, she taunts the local crime boss and his cronies, gets herself thrown out and Thrown down of lifestairs. Meanwhile, Annette Bening's Dr. Euphronius is a brilliant scientist who's very familiar with the work of, of Dr. Frankenstein, Victor Frankenstein, and has made her own breakthroughs in regeneration. And she is visited by Christian Bale's, well, monster. But when she asks his name, he says, well, Frankenstein was my father's name. So he then gets called Frank, okay? He says he's lonely and he wants her to make him a mate. And she says, I can't do that. He says, yes, you can. And she says, I can't do that. He says, yes, you can. So she goes out, okay, maybe I can.

1:06:19

Can.

1:09:02

So they go to a pauper's grave where they find the body of Jesse Buckley's character and reanimate it to find that there are effectively two souls in it because she. The memories of the past are all gone. So there's a bit of Mary Shelley, there's a bit of residual memory. But this, this now reborn bride is an anarchic firecracker who's kind of defining winning feature is, you know, I prefer not to. I'm not going to do that. It's outspoken, knows her own mind, wild, rebellious spirit with this kind of distinctive razor blade smile, which you will have seen from the posters. There's this kind of black sort of splurge to one side of her mouth and believe me, you'll soon be seeing that in nightclubs and on Halloween masks around the country. So he is like an old school romantic. He's fixated on this musical star, cinema musical star, played by, by Jake Gyllenhaal. But of course, he's also Frankenstein's monster, so still capable of great brutality. And she is absolutely, you know, this buzzing, rebellious spirit. And together they start to cause havoc in Chicago gate, crashing parties which spontaneously turn into musical dance numbers. Very much in the manner of. Well, I've seen it originally of near Costa's header, but obviously more recently in the manner of Testament of Ann Lee, or even weirdly in the manner of Mel Brooks, Young Frankenstein, because at one point they actually danced to Putting on the Ritz. And that cannot be accidental. Anyway, here is a clip from the trailer. What happened?

1:09:02

You had an accident. An accident, huh? We dug you up, then we brought

1:10:37

you back to life.

1:10:45

And I call her by her first name.

1:10:49

What do you want with a dead girl? I'm the same. Born from the dead. I am a monster.

1:10:52

Yeah, so am I. So they're also, basically, they're Bonnie and Clyde, you know, they start to become local legends. In particular, her black lips, black tongue, and that kind of that razor blade sort of splatter on her face becomes adopted by people as they become kind of local heroes. And it becomes like a riotous, like a riot girl, rebel girl statement. And inspired by this character who's, you know, everyone's talking about, people start to adopt her look and her attitude and they're rebelling against the patriarchy. At one point, a character actually says, yeah, me too, me too. Says it a number of times, just in case you missed it the first time. Meanwhile, Peter Skarsgard, who, of course, you've had the whole conversation about, you know.

1:11:01

Yes. Who's Maggie Gyllenhaal's other half.

1:11:51

Yes. And. And of course, is the. Is the son of Stellan Skarsgard. They're all part of one family. They all love it. They all love it. Is the detective on their trail with his far smarter assistant, played by Penelope Cruz, actually doing the crime solving and shaping up as the real force behind their partnership? So the film was all shot IMAX certified digital cameras. The score is by Hilda Goodnadotter. It says in the. In the Wiki entry that it was originally Johnny Greenwood, but I ended up being being Hilda Goodnadotter. The result is a game of many halves. As I've said before, I kind of made that comparison about, you know, a reanimated body with all these different bits strapped together. Some of the. Some of the bits work brilliantly, some of them don't work so well on. On the plus side, it is as ambitious as it is bonkers. I mean, this is not a film that anyone ever works on Shopped. This is not a film when a group of executives sat down and said, well, we should do this, and then we should do this. This is the singular vision of Maggie Gyllenhaal. And whether you like it or not, and I think there'll be people who don't, it is clearly the film that its writer, director set out to create. It looks terrific. Jesse Buckley walks on water, frankly, and can do anything. And Christian Bale is impressively dorky and pathetic in the true sense of pathetic, you know, as in pathos laden, as the monster. It's also very clearly a, you know, an out and proud feminist take on the Frankenstein narrative. The fact that it's the Bride, not the Bride of Frankenstein, but the Bride, exclamation, exclamation mark. So that is that all that is hardwired into its DNA. On the downside, I mean, it pinballs around between themes and moods and genres in a way that. That can be befuddling. I mean, it is a mess. Mess. But whether or not you go with that mess is, I think, a very personal decision. And I did decide to go with it and I did enjoy it whilst thinking that there's an interesting comparison here that, look, this cost pretty much the same as Wuthering Heights. It has a similar sensibility. I mean, they're both essentially gothic romances. They are both inspired by literary sources which some people revere. They are both honestly, boldly ridiculous takes on those texts. They're both helmed by women with a very clear sense of their own vision. They're both big and splashy and garish and unembarrassed and unashamed to be ludicrous. And they're also both kind of aimed at that. That demographic, which. In which there is a significant part of that demographic which is, you know, if you are. If you are a young woman, like a teenager, you are often very sorely served by big mainstream cinema, which tends to concentrate on cars and robots hitting each other. And it is absolutely true that at the moment, we're going to have next week in the charts, we're going to have Wuthering Heights and the Bride, which are big event movies, big, garish event movies in which they are clearly much more attuned toward a section of the audience that has been grossly overlooked by mainstream cinema. And that in itself, I think, is something to be celebrated. I think this is a better movie than Wuthering Heights. I don't think it will do as well as Wuthering Heights. And the reason is because it aims higher, it takes more risks and it is more unruly and more all over the place. But I think actually it's a better film, certainly in terms of the ambition and the sort of the scale of this world that has been imagined and dreamed up by Maggie John. So it's all over the place. It's preposterous and it is not for everyone. And there are things about it that don't work, but there's enough in there that does. And that. That makes me just sort of cheer. The idea that somebody like Maggie Gyllenhaal could get a movie like this out there in cinemas. That makes me very happy that it's out there in cinemas.

1:11:53

That's very interesting. So it's a mess, but it's a hot mess.

1:16:05

It's a hot mess.

1:16:08

Hot mess. That's definitely worth seeing.

1:16:09

I should have got. Yeah, I wish I'd used that phrase. It's a hot mess. Yeah.

1:16:10

Yes. Okay. All right, so let us know what you think once you have seen it. Correspondenceevinomeyar.com Time for a quadriology of Watsons. First of all, it's either Louis or Lewis. Hi, Simon and Mark. Louis here from the Glasgow Short Film Festival, which kicks off on March 18th at the beloved GFT with a screening of Downriver A Tiger, presented in partnership with the Catalan Film Festival about a kitchen worker and photographer losing her sight in a new city. It's a love letter to Glasgow. Glasgow through a cinematic lens. We also have genre programs such as our horror and comedy program Scared Shotless and for shorts and Giggles and a whole host more. You can find out more@glasgowshort.org hope to see you there. Nicely recorded there from Louis.

1:16:13

Very well done, very well.

1:17:00

But nice acoustic, I thought. Thank you, Louis. Here. Now here's Connor.

1:17:02

Hello, Simon and Mark and the glorious Redactor. This is Conical Kelly. To let you know, there is a wonderful Irish film festival taking place at the Babylon Theater in Berlin over the St Patrick's weekend from the 13th till the 18th of March. There will be a retrospective of the works of Cillian Murphy and a whole array of contemporary documentaries, shorts and features including Tabby Daly, a short I wrote and directed. We'll also play some traditional Irish music on a Saturday evening. Tickety Tongue and Down with the AFD and Vim Vendor's non political films. For more information, visit irishfilmberlin.ie. thank you.

1:17:07

All right, so that was Connor. Irish I love. Because Jesse Buckley did this at one of the awards. Just made a point of saying film by making it the extra. Yes, punctuation says Irish film Berlin, Ie, Connor, thank you. Now let's hear from Becca. Hi, Simon and Mark. Introducing the Tyne Valley film festival in Northumberland. 39 screenings in 22 venues across the Tyne Valley from the 13th to 27th of March. All information can be found at tynevalleyfilmfestival.com A special shout out for Allendale Film

1:17:47

Club's screening of Driving Mum, a quirky

1:18:19

Icelandic film at Allendale village hall on

1:18:22

16th March at 7.30pm the wearing of

1:18:25

Icelandic sweater writers is encouraged. Okay, Becca, thank you very much. The word quirky and Icelandic kind of go together always. There isn't a tr. You know, there's. I don't suppose Iceland would make Mother's Pride, for example. There isn't the equivalent, I don't think.

1:18:28

Yeah. No.

1:18:43

Becca, thank you very much indeed. Finally, here's Rob. Hi this is Rob Lamont. I'm a musician in Wes Bandersen. That's the band that plays the music of Wes Anderson's film. We perform cues from the original scores and needle drops from across the canon

1:18:45

and we'll be on tour of the

1:19:03

UK from the 20th to the 29th of March. You can find the locations and the details@wesbanderson.com and I'm sorry, Simon, but we will be wearing red beanies indoors as

1:19:04

we'll be dressed in the team Zissy attire.

1:19:18

Thank you. Love the show, Steve. Okay, Rob, thank you. That's fine. Because you're like acting. So I think there's. I think. I think that's actually.

1:19:22

Sorry, can I just say. Okay, Wes Banderson. Wes Banderson. That is pretty good. That's that. I wonder whether that came up and they formed the band because they thought it was just such a good name.

1:19:29

Rob, thank you. Enjoy the tour. So, before we're done, there is a small matter of Killian Murphy and his mates with Dangerous caps, Peaky Blinders, the

1:19:41

Immortal man, which is a film spin off of the iconic TV series which I have to say I have not seen. I mean I have dipped into it very slightly.

1:19:51

I've seen all of it, every single episode.

1:20:00

Okay, fine. So this is interesting and in a way we'll have to revisit this when you've seen the film. Okay, so this is written by series creator Steven Knight, who wrote Dirty Pretty Things, Eastern Promises, also wrote and directed Locke Hummingbird, which I actually like very much and is currently believe writing the new Denis Villeneuve Bond film for which we will find out at some point who the new Bond is going to be. So, I mean, that's. Yeah, that's.

1:20:01

That's pretty impressive.

1:20:27

He's doing fine. He's doing fine.

1:20:28

It's going to be Jacob Elordi, I'm sure.

1:20:31

Do you think not too tall? Not too tall and too Antipodean? I don't know, I. Listen, I've got no idea. Who knows? Anyway, so this is directed by Tom Harper, who along with directing some of Peaky Blinders on television, helm the Aeronauts and Wild Rose, starring that there Jessie Buckley, that was one of the films in which she starred. So as I said, I haven't seen Peaky Blinders, so I'm not familiar with the story. Although the weird thing is if you breathe air, you have got some awareness of Peaky Blinders because it is everywhere in the culture. It is one of those things. It's like people think they've seen Citizen Kane. They haven't, but they. But it's. It's just there. So for the record, from the official thing, this is a continuation of the TV series. Cillian Murphy in the lead. Ensemble cast including Sophie Rundle, Ned Danahy, Paki Lee, Ian Peck and Stephen Graham, reprising their roles alongside new additions. Rebecca Ferguson, Tim Roth, Barry Keoghan. So plays out beginning of World War II. Cillian Murphy's Tommy Shelby has exiled himself to this lonely house where he is writing his memoirs. I think they're his memoirs. He's writing a book. I think they're memoirs. He's cut off all contact with the outside world, including with his son Erasmus, who is now running the increasingly lawless Peaky Blinders gang. We meet them looting arms supplies, supplies that are meant to be going to the front in the wake of a bombing that's taken out small arms factory. He is feared by all, apparently has no moral compass whatsoever. Whatsoever. He's approached by Tim Roth's Nazi supporting Beckett to help in a scheme to flood the country with counterfeit currency that will cause economic collapse and thereby bring about the downfall of the country and the success of the Nazis. Then a mysterious woman played by Rebecca Ferguson turns up at Tommy's house and. And Tommy's sole assistant friend basically is scared of her, says, hang on, she's a gypsy witch. You know, you don't want to cross this. And she tells him that he needs to reconnect with the world with his son, whom he has effectively abandoned. Here is a clip from the trailer. Tommy,

1:20:33

you live in a house haunted with ghosts of people who died because of you. You abandoned your kingdom and you abandoned your son.

1:22:56

Your gypsy son is running the Peaky Blank blinders like it's 1919 all over again.

1:23:21

I can't help him because I'm not that man anymore.

1:23:32

It's a good trailer. So it's yet another gothic romance. I mean, you could heard that it was kind of very ghostly. Tale of lost loves and empty houses and ghostly memories and a kind of hint of something vaguely supernatural going on. It's also yet another example of the saleability, if you do it right, of period drama with modern pop stylings. You know, I mean, the soundtrack in this was thunderous. I saw this in a screening room in which somebody may have turned the projectionist to turn it up to 11. But there's a lot of, you know, there's like shots of iconic figures, even iconic. If you haven't seen the series walking in very slightly Slow motion to really kind of grinding guitars and, you know, brown Bram. Bram.

1:23:36

Is it, is it, is it Nick Cave's music? Because there's.

1:24:14

Nick Cave is, Is in it. It. He does the. Yeah, there is a. There is a Nick Cave song in it.

1:24:17

Because the style of, the style of the TV series was kind of. It seemed to be absolutely wedded to his music.

1:24:22

Yes, yes, yes, absolutely. And, and, and, and you understand why, because, because, you know, he's the man for that job. It looks terrific. And when you've got a cast that's got Murphy and Ferguson and Roth and Graham and Keoghan on screen, it would be really hard, hard to mess it up. The question is, and Barry Keoghan plays the sign, whether I've said that Barry Keoghan plays the son, the kind of the guy who's out of, out of control. So the question is, okay, how will it play to somebody who loves Peaky Blinders, has seen all of Peaky Blinders, which is you? Because I can't answer that because I have not seen the series. What I can tell you is that as a total newbie, it filled in as much as I needed to know to enjoy it with surprisingly little dialogue. I mean, there's no basel. Exposition, there's no somebody sitting down and recapping the stuff that's happened before. Themes are classic. So, you know, from Greek tragedy to Westerns, you know, you know what the themes are being done, you know, fathers and sons and returning and blah, blah, blah, all that stuff. I just slipped right into it. There's this. There is a scene in it in which a father and son wrestle in pig manure, which is a little on the nose, but I had no problem with that because it's, it's not, you know, it's got a kind of graphic novel sensibility to it. And the best thing about it is that I, whilst I enjoyed watching the film, it did make me think, actually, I've got to go back and watch a TV series now. Because if the TV series is anything like this, then I would find. I would find it very entertaining. But I do think it's quite a credit to the film that for somebody who did not know anything, I mean, I genuinely have just sort of seen little fragments of Peaky Blinders. I perfectly understood the story and I didn't ever feel the need to explain the story. To me, it's not very dialogue heavy. It's, as I said, there isn't a Basil Exposition moment. It just does it on the basis of big themes Familiar themes. Let's go. And I enjoyed it.

1:24:29

Yeah, it's. It's terrific. And the episodes in the. In the TV series where Cillian Murphy is an MP and is in conflict with the Mosley fascists. I think it's Sam Claflin who plays Oswald Mosley, but he's absolutely terrifying and it's really, really gritty and gripping stuff. So I'm looking forward to it very much.

1:26:22

Good. Well, I'm very interested to know what you think of it, because obviously what I think of it, as someone who hasn't seen the TV series, is very, very different to what the. What a big part of the core audience will be.

1:26:49

When does it drop, Mark?

1:27:00

It drops in cinemas on Friday.

1:27:03

Okay, all right. And then it's on Netflix.

1:27:04

Yes, it'll be on Netflix later, so there'll be a theatrical window.

1:27:07

All right. Okay. Finally, Lynn Eldon in the witter1 chat room on Patreon spotted this. She says the chase on ITV answered correctly, though I'm not sure Mark is going to be entirely happy with the pronunciations. Here's a bit off the curly. Here's a question. What is the main subject of the podcast asked Commode and Mayo's take? A, film and TV reviews. B, current affairs, C, pop and rock music.

1:27:10

You've put film and TV reviews? Yeah, absolutely. You heard it?

1:27:47

I've heard it, yeah. It used to be on 5 live, I think. There you go. So apart from the fact that Bradley Walsh, like some other people, get your name wrong. Yeah, we're in it. So we're in the quiz.

1:27:52

There we go. There we go. You got to be in it to win it. I've just looked this thing up. Theatrical screenings begin March 6th, although some places say March 5th of Peaky Blinders and then on Netflix March 20th. That's. That's. That's what Google AI thinks. But then, as we all know, Google AI thinks that I quite liked a film that I hated.

1:28:05

That is the end of Take One. This has been a Sony Music Entertainment production. This week's team, Jen, Eric, Josh, Heather and Dom. The redactor is Simon Poole. And if you're not following the pod already, please do so wherever you get your podcasts. And join us over there on Patreon for all the good stuff. A quick hi to new ultras. Richard Talbot, Beard. I think he's just someone who appears to be called Beard. We don't have any other name. Lauren Morley and Robert Holloway. You're all very welcome. Mark, what is your film of the week.

1:28:24

Well, in the tradition of Oklahoma, exclamation mark and Mother. Exclamation mark. My film of the week is the Bride.

1:28:53

I thought you're gonna say Mother's pride there just for a moment. Correspondent of the Week. I'm gonna give the year's ultra membership to Saham Husseini from Moonrise Motion Pictures, who got in touch telling us about his ambition to maybe one day make a film.

1:29:01

Yeah.

1:29:17

About the IRGC crackdown in Iran. So. Which sounds like. So we'll give you that and then see what happens. So, Saham, thank you very much indeed. Thank you very much indeed for listening. Get in touch. Correspondence and take two has landed adjacent to this one.

1:29:17