Ep. 3 - Stiletto (1969)

[00:00:00] It's showtime, folks. Some bad hat harrys. What was the weight of the car when you got it?

[00:00:06] You're not right from wrong. You just don't care. Benway! Oh sons of bitches. I didn't know.

[00:00:15] I didn't know. You're gonna need a bigger watch.

[00:00:24] Hello and welcome to episode three of The Complete Works Season Four. A deep dive into

[00:00:30] the career and films of actor Roy Scheider. My name is Mike Smith and joining me on this

[00:00:35] journey across the Scheider verse is my friend, co-host and fellow Roy Boy. Mike Takrishian.

[00:00:41] How are you doing today, Mike? I'm doing great. I am picturing us in matching hashtag Roy Boy

[00:00:47] t-shirts. That's a pretty good mental image is all I'm saying. If we don't have that available

[00:00:53] on Redbubble by the time this podcast comes out, we will have failed as a podcast.

[00:00:58] Oh, no. I got to remember how to do that. Yes. We got to look into how that works. But yeah,

[00:01:06] that would be incredible. Colin made a shirt for us once he can do it again. He could do

[00:01:09] it again. Yeah, do it again. So Mike, today we are talking about the filmography of Roy

[00:01:14] Scheider, but we're also talking about the filmography of Alex Kord. Are we? Sure. Alex

[00:01:22] Kord. It's been a long time coming. We're finally talking about the filmography of Alex Kord,

[00:01:29] who is best known as one of the main cast members of the 1980s TV series

[00:01:34] Airwolf. You ever watch Airwolf, Mike? I have never watched Airwolf, but I specifically

[00:01:39] remember that being on the TV wall at FYE as when you were restocking things, the DVDs

[00:01:47] and be like, this is not a show that ever existed. Just like stocking stuff like nobody's heard of

[00:01:53] this shit. I mean, I think if you grew up in the 80s, you might have heard of this shit.

[00:01:57] It started Alex Kord. It also starred Jan Michael Vinson and Ernest Borgnein

[00:02:01] ran for a couple of years in the 80s. But before that show, Alex Kord had several stabs as

[00:02:07] the lead of Western and action pictures. Now his breakthrough role came in the 1966 remake

[00:02:14] of John Ford's Stagecoach, where he played the Ringo Kid, the role originated by John Wayne

[00:02:20] in John Ford's Stagecoach. He was the John Wayne role that role launched Wayne into

[00:02:25] superstardom. So that really feels like a call your shot moment for this guy, right?

[00:02:29] For real. They talk about there's no bigger pair of literal bridges to fill then.

[00:02:37] No way. Yes. Like John Ford's Stagecoach, which I believe these 60s remake of Stagecoach

[00:02:43] like I've never seen it, not considered all that great. I believe 30 Stagecoach rips. Have

[00:02:48] you watched John Ford's Stagecoach? Of course. Yeah, the movie is great. I think I have the

[00:02:51] criteria of it. I do too. And that was a I took several film classes when I was in college.

[00:02:57] I was a film major and one of my professors, like the intro to every class, just in case you

[00:03:03] weren't taking like certain film classes, every single class she taught stagecoach was

[00:03:07] in there somewhere. It would be like it was just I can't imagine the amount of time she has

[00:03:11] watched Stagecoach just because she taught it every class, every semester. Incredible.

[00:03:17] And so yeah, the 60s version of Stagecoach had Alex Kord playing John Wayne's role.

[00:03:22] It feels like a moment where the studio and casting directors are betting big on Alex Kord

[00:03:27] to hit in a similar way that John Wayne did. And he just did not. Does it? I wonder if

[00:03:33] he had the cool like lever action gun flip intro that that John Wayne has, because I

[00:03:39] feel like that's a good question. Those like three seconds of film permanently altered American

[00:03:43] history by making John Wayne a star. Yeah, no, absolutely. That's that like that

[00:03:47] intro to John Wayne's character is why John Wayne became a star. Absolutely. Yeah.

[00:03:52] So they tried out Alex Kord as the lead in Hollywood movies and that didn't really work.

[00:03:56] They tried him out as the lead in spaghetti westerns and that didn't really work. Although

[00:04:00] I am very fond of the title A Minute To Pray, A Second To Die. Fuck yeah. Good title.

[00:04:06] Italians know how to title a movie. Exactly. This feels like the kind of career that Quentin

[00:04:11] Tarantino was drawing from when fleshing out the story of Rick Dalton in Once Upon a Time in

[00:04:16] Hollywood. Right. 100 percent. Now that you said that, absolutely. I can't I can't not picture

[00:04:21] Rick Dalton in this movie now. Yeah, I think it would have been better actually if we just

[00:04:25] if we just if we could take this movie and CGI in Leonardo DiCaprio as Rick Dalton

[00:04:32] like they do in Once Upon a Time with The Great Escape. Yeah, I think it would really work.

[00:04:37] So today we arrive at one of these several attempts to make Alex Kord a movie star.

[00:04:42] And since Roy Scheider is in it, we have got to talk about 1969's Stiletto.

[00:04:52] The characters of Harold Robbins have something in common. They see it.

[00:04:56] They want it. They take it. You met the Robbins people in the carpet baggers and the adventurers.

[00:05:09] Some motion pictures you watch, some you feel you'll feel Stiletto.

[00:05:16] All right. Now, Stiletto was based on a novel by Harold Robbins,

[00:05:19] the bestselling author of several books that became movies, including The Carpet

[00:05:23] Baggers around this time. Roy Scheider appears in a couple of scenes as a lawyer representing

[00:05:28] the mafia by the name of Bennett's. But the lead character count Chisare Cardinali

[00:05:33] is played by Alex Kord, though I just kept calling him Stiletto.

[00:05:38] He might as well just be named Stiletto like genuinely about half of the movie.

[00:05:42] I'm not sure I like remember anybody actually saying the character's name,

[00:05:46] but it is count Chisare Cardinali every time I'm like, oh, yes, Stiletto is up to his

[00:05:50] tricks. Johnny Stiletto, Johnny Stiletto. Yeah. Brit Eklund from The Wicker Man.

[00:05:56] And she was also in The Man with the Golden Gun. She was the Bond girl in that movie.

[00:05:59] She plays Iliana, his girlfriend, Patrick O'Neill from The Stepford Wives and The Stuff

[00:06:04] plays Baker, the cop who's after him. Joseph Wiseman, best known for playing Dr. No.

[00:06:10] In the James Bond film, Dr. No appears as Mateo, who's like a rival hit man or like

[00:06:15] the leader of the mafia that is trying to take him down, I think. Right. Yeah,

[00:06:18] that sounds right. Honestly, can tell you that's one of the parts of the problems of the movie.

[00:06:22] Yeah, exactly. Barbara McNair from They Call Me Mr. Tibbs appears as on Dossi,

[00:06:27] another girl in Stiletto's life. John Dana appears as district attorney Tito's

[00:06:31] Vendee's from The Exorcist and The Miracle Worker plays Tano. Lincoln Kilpatrick,

[00:06:36] who is the priest in Soylent Green plays Hannibal Smith. James Tolkien,

[00:06:40] who was Mr. Strickland in Back to the Future plays Edwards. Plus, this movie gives

[00:06:45] you real quick glimpses from several actors early in their careers, including Olympia Dukakis as

[00:06:51] Mrs. Amato, Peter O'Toole as a man at a premiere. Charles Durning, Papi O'Daniel himself as a cop,

[00:07:00] Raul Julia as a partygoer, Antonio Fargas from Starsky and Hutch as a man in a jazz club

[00:07:05] wearing sunglasses. And finally, M. Emmett Walsh, who just passed away like a week ago,

[00:07:11] this recording appears as a racing partner in this movie. So this is our M. Emmett Walsh

[00:07:15] tribute episode. Absolutely. It's so weird. It was so weird watching this and then he pops up.

[00:07:20] You're like, what the fuck? I mean, that's kind of the whole career of M. Emmett Walsh, right?

[00:07:22] He just kind of pops up in things that you're watching. That's a good point. Yeah.

[00:07:26] The film was written by A.J. Russell, mostly a TV writer who was involved in over 500 episodes

[00:07:31] of General Hospital. And it was directed by Bernard L. Kowalski, who got his start

[00:07:36] directing Roger Corman movies like Night of the Blood Beast and Attack of the Giant Leaches,

[00:07:41] which that one I have seen. Actually, I own that on DVD. Oh, let me say those sound like

[00:07:45] pretty big ones. Actually, I think I've heard of those. Yes. Yeah. The Giant Leaches is in

[00:07:49] my like 10 movie Roger Corman back just a random assortment of Roger Corman movies from

[00:07:54] that time period. Stiletto was released on July 30th, 1969. And the number one movie at

[00:08:00] the box office that weekend was Whatever Happened to Aunt Alice? It's a neo noir starring

[00:08:05] Geraldine Page. So again, I can only find the number one movie that weekend couldn't find the

[00:08:10] rest of the top 10, but the top 10 movies of that year. Do you want to take a stab at what

[00:08:14] the number one highest grossing movie of 1969 was, Mike? Oh man, I don't know. It's either

[00:08:19] some shit like I know it's not the exorcist, but it's something like the exorcist or the

[00:08:23] sound of music. Like those are the only two options in types of movies. It's not either

[00:08:28] one of those kinds of movies. I will say it's a Western. A Western. Oh, I feel like

[00:08:32] it's one you must have seen. I want to say the Wild Bunch, but that doesn't sound right.

[00:08:36] It's not the Wild Bunch, although you got the year right. That is, I believe Wild Bunch is 69.

[00:08:40] No, the number one movie that year was Butch Cassidy and The Sundance Kid.

[00:08:44] I forgot about that movie somehow. Yeah, good movie. Good movie. Yeah, good movie.

[00:08:49] Yeah, good stuff. A raindrop, a key phone on my head or whatever. Exactly. As used again in

[00:08:54] Spider-Man 2. That's right. I forgot about it. It all comes back to Spider-Man 2. It all

[00:09:00] comes back. Yeah. So Butch Cassidy was number one that year. The rest of the top 10 for 1969.

[00:09:06] The Love Bug was number two, which I believe is the first Herbie movie. Midnight Cowboy,

[00:09:11] Easy Rider, Hello Dolly, Bob and Carolyn's Haden Alice, Paint Your Wagon, the original True

[00:09:17] Grit, Cactus Flower and Goodbye Columbus. I can't imagine what it must have been like

[00:09:24] to be alive in 1969. Like that is that is I mean, obviously it's 69, like the, you know,

[00:09:32] much written about transitional year. But like just looking at that top 10, what a wild

[00:09:37] difference in terms of just like cultural mores in between all of those movies. That's so wild.

[00:09:43] No, absolutely. I mean, you look through all that stuff and it's like, oh man, there's

[00:09:46] like some new Hollywood stuff kind of seeping in there. Your Butch Cassidy is your Midnight

[00:09:50] Cowboy, your Easy Rider. But there's still like the vestiges of old Hollywood here. There's Hello

[00:09:55] Dolly and The Love Bug and Paint Your Wagon. You know, that's True Grit, which at this point,

[00:09:59] you know, we talked about John Wayne and Stagecoast. The True Grit and True Grit John Wayne is

[00:10:02] like end of career John Wayne. Like he's closing out the filmography and it's like,

[00:10:08] oh, like he won the Oscar for True Grit. And it was very much one of those like,

[00:10:11] well, here you go. You're John Wayne. Yeah. I guess you earned one of these. Yes. So

[00:10:18] there it is. The IMD plots, synopsis for Stiletto reads a rich jet setting playboy has a secret life.

[00:10:25] He's a professional hitman for the mob when he decides it's time to retire.

[00:10:29] He finds his former employers don't like the idea of someone who knows so much not being

[00:10:33] under their control anymore and decide to eliminate him. So Mike D going into Stiletto,

[00:10:39] what were your hopes? What were your dreams for this movie? What were your expectations

[00:10:42] and what did you get coming out of it? What are your overall thoughts on this movie?

[00:10:46] Going into Stiletto, I was really, I think excited is the is the correct word. You know,

[00:10:52] we've we've talked about a lot of these earlier roles in other seasons being these kind of

[00:10:57] like one or two scene moments for the main person on our podcast. But like you find some

[00:11:03] gems in there. Yeah. And I know you referenced like you were hoping this would be like a

[00:11:07] special delivery type discovery for us. Yeah. Special delivery being one of our Jeff Goldblum

[00:11:12] movies, which is exactly that. Jeff Goldblum appears as I think Hood number three or something

[00:11:17] like number one, whatever his credit is. He gets attacked by Bo Svensson at one point,

[00:11:22] like I guess I think thrown up against a wall. And so we were watching it for that.

[00:11:26] But then we were like, oh, hey, this is a really great, cool crime thriller that

[00:11:30] we had never heard of before. Yeah. Well, a different score. It's awesome. Yeah.

[00:11:35] And the mailbox, it's the mailbox. Yeah. I mean, that movie, let's just plug special

[00:11:39] delivery. What a picture. What a picture about a bank robbery. Robbery goes wrong and Bo Svensson

[00:11:45] stashes the money in one of those, you know, a blue mailbox on the street corner. Yeah.

[00:11:49] And so now he needs to stake out the mailbox for when the mailman comes and opens it so

[00:11:53] he can get the money back. Yeah. Keena Lorber has a blu ray of it. Well worth getting.

[00:11:58] I guess very fun. So we're hoping for that right. That plot description about a

[00:12:04] jet setting playboy who's doubles as a hit man for the mob who wants out

[00:12:07] and they won't let him out. And it's just going to be a cat and mouse game and all this stuff.

[00:12:11] And it just there's something in the the, you know, the like the chemistry of making a movie

[00:12:17] that sometimes the awesome perfect ingredients all come together and it doesn't work. I don't

[00:12:24] understand what is that huge list? You know, I'm not obviously not familiar with Alex cord.

[00:12:30] I don't think really anybody is other than the air wolf stands. It's not cord slamming

[00:12:35] on this. He's catching strays and then that huge long laundry list of co-stars and small

[00:12:43] appearances by early appearances by people that would become later big, big actors and stuff.

[00:12:48] Plus a cool crime story in 1969. It's got a swing and jazz score just like Paper Lion did.

[00:12:54] And we're like, how like, hell yeah, here we go. There are Ferraris and there are nightclubs

[00:12:58] and it's action. And then it's just somehow doesn't come together. I don't know if it's

[00:13:02] just that most of the people are so wooden. Most of the performances are very wooden and stiff and

[00:13:08] it's got that whole, you know, spaghetti Western kind of vibe. We're like, I don't know. This is

[00:13:12] all slightly dubbed a little off or whatever. That's fine. You know, we like, I like that

[00:13:16] generally or can get past that. Or if it's just the story somehow is very incomprehensible

[00:13:22] for a pretty, what should be a straightforward gangster for the mob. And I want out and they

[00:13:26] won't let me out kind of plot. It's hard to keep track of who's who and who's why and

[00:13:31] what's when. And all this. It introduces you to so many characters. Yeah, yeah. There's I don't know.

[00:13:36] There's like eight people on trial at the beginning and I don't think any of them are relevant

[00:13:39] except one. Yeah. What is happening with these people? And then there's lots of diversions,

[00:13:44] two nightclubs that we kind of just like watch a scene at. And then we just go right back

[00:13:48] to the other thing. You're like, OK, I guess this is really just about what a cool swinging

[00:13:52] guy he is, you know, or whatever. And that's fine too. That's fun. And the cop stuff isn't

[00:13:56] really like hard boiled cop enough. It's like this. It's like a B.C. plot for this movie.

[00:14:02] So that's weird. So, yeah, it's it feels so long and I think it's not even an hour 50.

[00:14:08] I don't think I think it's an hour 40. I believe it's relatively short. Yeah, it's not

[00:14:12] that long, but it just kind of really drags. And I think maybe that's just, you know,

[00:14:15] that kind of weird transition into the old to new Hollywood. I don't know. Like, you

[00:14:20] watch like bullet these days and you're like, man, my dad remembers that being like the

[00:14:25] coolest and craziest car chase that's ever been on film when he was a kid.

[00:14:29] And we recently watched it and he was like, yeah, it's all right.

[00:14:32] You know, I just watched John Wick part four

[00:14:35] two weeks ago, which is the car chase and bullets still rips.

[00:14:40] The movie itself surrounding bullet is maybe not great.

[00:14:43] Yeah, I think that's the larger point.

[00:14:45] You know, it's like, yeah, there's moments that are incredible.

[00:14:48] But when you kind of have been they kind of get built up and you're like,

[00:14:51] holy shit. And then you go back and watch them through a modern lens.

[00:14:54] You're like, well, OK, I can understand the like foundational nature of this is very

[00:14:58] interesting and exciting. But overall, it's fine.

[00:15:02] So that this movie has that kind of vibe to it, too, where like, man, this was probably

[00:15:06] really violent and intense in 1969 or whatever.

[00:15:10] Although maybe not. I don't know stuff like easy writers at the top 10, which has

[00:15:13] pretty intense moments of violence and stuff.

[00:15:15] So I don't know. Sure. Yeah.

[00:15:16] I mean, easy writer is obviously a big new Hollywood movie.

[00:15:19] I mean, even a couple of years before this, like, I mean, while a bunch was around this

[00:15:22] time and Bonnie and Clyde was just two years earlier than this, that movie was a huge hit.

[00:15:27] And that was a big, you know, in terms of Hollywood violence, like that's like open

[00:15:31] the doors for a lot of other movies.

[00:15:32] And so, yeah, I don't know. I think Stiletto just didn't connect with audiences.

[00:15:37] I think at the time people didn't really like it.

[00:15:39] And looking back on it today, people don't really like it all that much.

[00:15:43] It's pretty much mostly forgotten.

[00:15:45] I think as a relic of a lot of actors and their very early roles,

[00:15:50] that's something that people kind of get drawn to it for.

[00:15:53] But like we said, we were talking about before looking at how many people on

[00:15:56] Letterboxd have watched this movie and there's about like 150.

[00:16:01] And you know, by comparison, you know, not these movies, but like one movie has

[00:16:06] a lot more cultural impact than the other one.

[00:16:08] But we also look at the Jaws page and Jaws has 1.5 million people on

[00:16:13] Letterboxd who have watched it.

[00:16:16] And this has 150. It's a big discrepancy between the two.

[00:16:19] Yeah. Yeah. And even just to go to we looked at Paper Lion also from last week.

[00:16:23] And that was like what, five hundred sixty or five fifty or something like that?

[00:16:26] So it was a few hundred. Yeah.

[00:16:27] So even a movie has also forgotten as Paper Lion to us, at least,

[00:16:33] has way more logs and stuff.

[00:16:35] So yeah, it's just like a cultural artifact kind of thing.

[00:16:38] It's one of those another sort of like archaeology looking back into 1969

[00:16:42] and seeing the culture, air quotes, the culture was like back then too.

[00:16:45] And I think it is really interesting and fascinating for that.

[00:16:48] Just like the depiction, the fashion and like so what like social life,

[00:16:51] air quotes, you know, stuff like that is.

[00:16:53] And weirdly, I mean, we mentioned this movie already,

[00:16:55] but it did kind of remind me of Once Upon a Time in Hollywood.

[00:16:57] Just the way that movie kind of depicts that sort of swinging social life and

[00:17:01] all that kind of stuff.

[00:17:02] I think this movie shows you that.

[00:17:04] But in the actual era that it was presented.

[00:17:06] Yes, 100 percent.

[00:17:07] So for that, it's fun.

[00:17:08] But otherwise, yeah, yeah, I'm right there with you.

[00:17:12] I think this movie is really boring.

[00:17:14] It's not not a good time.

[00:17:17] And I think, yeah, all the performances, except for Roy Shatter,

[00:17:20] who I think is actually pretty good in this.

[00:17:21] Like he he brings like some magnetism to it.

[00:17:24] But the two main characters really, Alex Kord and Brit Eklund

[00:17:29] are both just like, man, what are you guys doing?

[00:17:32] Yeah, it's just it feels it often feels like they are like

[00:17:35] speaking English for the first time.

[00:17:37] Like it just, you know, like they're they're trying to connect through

[00:17:40] like some kind of language barrier.

[00:17:42] Yeah, I don't know.

[00:17:42] It's it's very, very weird.

[00:17:44] I will say I think the first like 10 minutes of this movie, pretty good.

[00:17:49] The sepia tone stuff.

[00:17:50] Yeah, there's this opening prologue this movie has, which is in sepia tone.

[00:17:54] And I'm not even entirely sure what was happening in that sequence,

[00:17:56] but it just felt avant garde.

[00:17:58] It felt cool.

[00:17:59] It felt different.

[00:18:00] You know, it was I believe it was depicting Alex Kord,

[00:18:04] Stiletto himself doing some kind of hits, right?

[00:18:06] There was like him like acting out as a hit man doing his thing,

[00:18:10] I think, right?

[00:18:10] I don't even know.

[00:18:12] I think it was at least the first time he killed somebody is how I interpreted.

[00:18:15] But I don't know the context because there's like a sexual assault

[00:18:20] and then it's like a fight between two men and the whole town is watching them.

[00:18:24] And it's like they're going to mob justice this guy.

[00:18:26] Yeah.

[00:18:26] And again, I'm not sure what the context of that was or what was going on there.

[00:18:30] But I did think it was like a stylish way to open up the movie.

[00:18:34] It looked cool.

[00:18:35] And then right after that, there's this whole kind of opening sequence

[00:18:38] where the the opening credits are happening as you're kind of going

[00:18:41] through this casino and you're kind of building up to this hit where this,

[00:18:46] you know, one guy gets killed by a stiletto like a high heel stiletto,

[00:18:52] which is why the movie is called Stiletto.

[00:18:54] It's it's not because the character is named Stiletto.

[00:18:56] He's not named Stiletto.

[00:18:57] His name is Count Cesare Cardinale,

[00:19:00] which is a great fake Italian name.

[00:19:02] I got that's true.

[00:19:04] Absolutely.

[00:19:05] For our purposes, this character is named Stiletto.

[00:19:08] But yeah, he killed somebody with a stiletto.

[00:19:09] It like goes in the guy's back and he falls down on the table.

[00:19:12] And I think everything leading up to that sequence, pretty cool.

[00:19:15] I was like on board with the movie.

[00:19:16] And then like almost immediately, it's just like, man,

[00:19:19] no, this doesn't this doesn't work anymore.

[00:19:20] To hit the brakes.

[00:19:21] Yeah.

[00:19:22] I mean, yeah, that opening sequence is all like there's like no dialogue.

[00:19:26] Like even during the fight, like all you're hearing is like the men

[00:19:28] panting and like the thuds of punches when they're having the fight

[00:19:31] and the screaming and the part before that.

[00:19:33] And then this whole sequence at the casino,

[00:19:35] I like was afraid that I was like watching something with an incorrect audio track

[00:19:40] because it's just the scores, just like the jazzy, cool, funky score going on.

[00:19:44] And they're like talk.

[00:19:45] They're arriving at the thing in the valet with their car and stuff.

[00:19:48] And then they're like clearly having conversation like they're on screen

[00:19:51] talking to people, but with no dialogue.

[00:19:53] Yeah.

[00:19:53] I was like, am I somehow just listening to the score?

[00:19:56] Like have I somehow watched the wrong thing?

[00:20:00] And I had to like skip ahead to like just click random spots

[00:20:03] in the progress bar and be like, OK, there is dialogue.

[00:20:05] OK, you go back now.

[00:20:07] But yeah, I think it's interesting that that whole opening sequence is like pretty intense.

[00:20:10] It's like one.

[00:20:11] I think it's like a long tracking shot for the most part through the casino.

[00:20:14] And yeah, and then they kill that guy.

[00:20:16] And then it's just pulled record.

[00:20:17] No, no more interesting filmmaking.

[00:20:20] It's over.

[00:20:21] Yeah.

[00:20:21] And then it does just become like a very dull.

[00:20:25] Like it's just very like standard.

[00:20:26] Like there's not much going on.

[00:20:28] You don't you know, you kind of know what the story is.

[00:20:30] Like we OK, we get it.

[00:20:31] He's a hit man.

[00:20:32] He wants out.

[00:20:33] There's a trial with the mafia guys and Roy Scheider is the lawyer.

[00:20:37] He's like the sleazy kind of mafia lawyer who's kind of getting them off, right?

[00:20:40] Yeah.

[00:20:40] Yeah, the guy they kill at the beginning of the casino is the star

[00:20:44] witness for the prosecution.

[00:20:45] So now they've killed him.

[00:20:46] There's no case.

[00:20:46] There's no witness.

[00:20:47] Yeah, exactly.

[00:20:48] But now now they have to kill Stiletto because he knows too much.

[00:20:54] He knows too much.

[00:20:55] And he knows too much.

[00:20:56] And then while all that's going on, the cop is like trying to figure out who killed this guy.

[00:21:02] And so he's on Stiletto's trail.

[00:21:03] So, yeah, I don't know.

[00:21:04] It's there's a few different plots going on.

[00:21:07] And again, this should all be relatively straightforward.

[00:21:09] Like there's a million crime movies with that exact description.

[00:21:11] Yeah.

[00:21:12] And for whatever reason, this one is just like it really overcomplicates things

[00:21:15] for some reason.

[00:21:16] And yeah, I don't know.

[00:21:17] And I think it's not helped by everybody kind of being like, yeah,

[00:21:21] everybody's performance is just kind of wooden.

[00:21:22] The dialogue is not all that memorable.

[00:21:24] It just feels kind of flat.

[00:21:26] Yeah, which is unfortunate because I was like really hyped to.

[00:21:29] I mean, this is like kind of right up my alley.

[00:21:32] I was like hell yeah.

[00:21:33] We were hoping for special delivery here.

[00:21:34] Yeah, I don't know.

[00:21:35] I wish the Hitman plotline felt more tense or if the procedural cop plotline felt more exciting.

[00:21:44] You got kind of parts of interesting things here, but they don't really gel together.

[00:21:47] Or one of them is not neither of them is given enough time to really be get its hooks in you.

[00:21:54] So like maybe just as the love triangle playboy thing with Sazara,

[00:22:00] with Stiletto and the other girls and then him trying to get out and then balancing that life

[00:22:05] of him because he is committing hits throughout the movie before he wants out.

[00:22:09] But I don't really care about that.

[00:22:11] And then the cop stuff is not there enough to be interesting and exciting.

[00:22:14] So yeah, I don't know.

[00:22:15] It just doesn't come together.

[00:22:17] Yeah, which is unfortunate.

[00:22:18] But Roy Scheider is in the movie.

[00:22:20] Yes.

[00:22:21] So what did you think of Roy Scheider's performance as Bennett?

[00:22:24] I think he's great in his two scenes that he's in the court.

[00:22:30] I think he's in three scenes.

[00:22:31] OK, I know the courtroom scene and the like nightclub scene.

[00:22:35] I feel like there's a continuation or there's a scene where

[00:22:38] the mob bosses are all gathered together around the table.

[00:22:40] I think he's the one who's giving the presentation.

[00:22:42] Yes, you're right.

[00:22:43] He's a voice in that scene.

[00:22:44] You're right.

[00:22:45] Yeah.

[00:22:45] Yeah, I forgot about that.

[00:22:46] Yeah, I like the slideshow.

[00:22:47] But yeah, that first courtroom scene, which is so right after the

[00:22:51] they killed a guy at the casino, like I think cuts right to the courtroom

[00:22:54] where they're asking for a delay or a postponement or something.

[00:22:57] Or he's a rush.

[00:22:59] I think maybe asking for a dismissal because the prosecution has no case.

[00:23:02] They can't produce their witness, blah, blah, blah, whatever.

[00:23:04] And you can see he's like a slimeball kind of guy.

[00:23:06] And he's like really make him fun of the prosecutors and stuff

[00:23:09] and being really sarcastic.

[00:23:10] And I feel like that was like the first glimpse of like,

[00:23:13] oh, this is a recognizable Roy Scheider performance to me.

[00:23:17] Yeah, the first one in Curse of the Living Corpse.

[00:23:19] He's the cartoonish villain.

[00:23:21] It's really his mustache.

[00:23:22] Basically, he's really like chewing some scenery in that movie.

[00:23:25] Yeah.

[00:23:25] Yeah.

[00:23:25] And he's got two lines or whatever in Paper Lion.

[00:23:28] And in this, he's kind of being sarcastic and full of himself.

[00:23:30] And it's like that kind of I think Roy Scheidery performance

[00:23:33] that you're like, oh, yeah, this is this is Brody.

[00:23:35] It's like the same guy.

[00:23:36] And then, yeah, I think the other scenes he has less to do

[00:23:39] are less noticeable other than just like he is good in them.

[00:23:42] And the nightclub scene where he's just explaining to the mob boss,

[00:23:44] we're like, well, we could find this other guy.

[00:23:46] He's our last witness.

[00:23:47] You know, we could we could find him.

[00:23:49] You'll be clear sailing.

[00:23:51] And then the presentations, you know, whatever, where he's just like

[00:23:55] explaining to everybody of the current conspiracy, I think

[00:23:58] that they're all committing.

[00:23:59] Like, I'm not really sure.

[00:24:01] But he's already in a slideshow.

[00:24:02] They're all confused, too.

[00:24:04] You know, that's true.

[00:24:04] You need to figure it out.

[00:24:06] Yeah, no, Roy Scheider.

[00:24:07] I think it does feel like, you know, oh, he's like coming

[00:24:10] into his own as an actor.

[00:24:11] We're getting to see the Roy Scheider that we're going to be familiar with pretty soon.

[00:24:16] Yeah. And I do like that scene where he is, you know, that courtroom scene

[00:24:20] where he is kind of doing his thing as a lawyer.

[00:24:22] I think that's great.

[00:24:23] He's he's good.

[00:24:24] He's good.

[00:24:24] He does stand out in a movie full of one or two scene

[00:24:29] standout performances by other people that will be very famous later.

[00:24:32] Yeah, that's the weird thing about this movie is that we have these like

[00:24:35] these main trio of performances, right?

[00:24:37] With Alex Corbett, Eklund and Peter O'Brien, I think is who it is.

[00:24:43] The cop.

[00:24:43] Yeah.

[00:24:44] Patrick O'Neill.

[00:24:45] Why did Peter O'Toole?

[00:24:47] Peter O'Toole is in there.

[00:24:49] Yeah, but no, Patrick O'Neill.

[00:24:51] You have that like trio of performances who are like your main characters

[00:24:54] and all of them just feel like I don't know, they all feel off.

[00:24:57] They don't really feel like they're giving all that much like to the camera

[00:25:01] or whatever it is.

[00:25:02] But every like minor supporting role is somebody like Roy Scheider

[00:25:06] or Olympia Dukakis or M.M.Walsh.

[00:25:09] And then they wall shed.

[00:25:11] It's like, oh, hey, there's some great performances in here.

[00:25:13] Some great actors doing their thing.

[00:25:15] And it's just like, oh, but they're not the focus of this.

[00:25:17] I mean, yeah, it's like constantly teasing you with like a better performance

[00:25:20] on the sidelines.

[00:25:21] Ten years later, you would invert this entire cast.

[00:25:24] Yeah, Roy Scheider should play Stiletto.

[00:25:26] Yeah, or at least the cop.

[00:25:28] He's Stiletto.

[00:25:29] That's very funny.

[00:25:30] It's just keep calling him Stiletto.

[00:25:33] It's much faster than saying couches out of a cardinal.

[00:25:35] Absolutely.

[00:25:36] Who we're told is like, you know, there's like a scene,

[00:25:39] there's a moment where I think when he goes to Italy to like ask the boss

[00:25:43] or whatever to be let to retire or something, and they have to like tell us

[00:25:47] that he's like everywhere I'm go, I'm recognized.

[00:25:50] And you're like, are you?

[00:25:50] I haven't seen that in the past 45 minutes.

[00:25:54] Interesting.

[00:25:55] Yeah.

[00:25:56] Not only is he like, you know, he's a rich playboy kind of guy,

[00:25:59] but he's also like a famous race car driver.

[00:26:01] Yeah, he's like a world famous race car driver

[00:26:03] who owns an import car dealership in New York City

[00:26:06] that he goes to at one point in the movie.

[00:26:08] Yes.

[00:26:09] What?

[00:26:09] Like I think there's there might just be too much stuff going on with Stiletto.

[00:26:12] You know, yeah, that'd be the thing because how does he have time to be a hit man for the mob

[00:26:18] when he's a world famous race car driver?

[00:26:21] There's one sequence.

[00:26:22] I think it's like maybe I think the second hit or third hit he does in the movie

[00:26:25] that I thought was absolutely hilarious in the context of him being a world famous playboy.

[00:26:32] It's it's like actually a kind of intense sequence where he goes to that giant house party

[00:26:36] and it's like where Rolla Julia is in the it shows up for like just like turns

[00:26:40] and looks right down the camera.

[00:26:41] Like, okay, this is cool.

[00:26:44] But he's like at this giant like beach mansion party thing.

[00:26:48] And he like introduces his girlfriend as like who's going to show us the

[00:26:51] rhythm of dance or whatever.

[00:26:53] And she's just like doing a belly dance thing.

[00:26:55] Yeah.

[00:26:55] And then it's just him sprinting down the beach,

[00:26:59] running down the beach, cutting back and forth.

[00:27:01] It's him running trying to make it to the hit and then her dancing and then him just like

[00:27:05] like a Monty Python sketch, like just attacking this guy and killing him with the stiletto.

[00:27:09] And then it just cuts back to him back at the party and he's not sweaty.

[00:27:13] His clothes are not messed up.

[00:27:15] He's not panting.

[00:27:16] He's just like, oh, what a lovely performance like drinking his drink.

[00:27:19] And it's just like a hilarious order of events if you actually stop and think about it.

[00:27:24] It's like the scene in Goldfinger where he like opens up his scuba suit and he

[00:27:27] just has a perfectly dry tuxedo underneath.

[00:27:29] Exactly.

[00:27:29] Yeah.

[00:27:30] Yeah.

[00:27:30] Any so I mean, I was gonna say how does this fit into the

[00:27:33] Shattered Rolls we've seen so far?

[00:27:34] I think we've pretty much covered that.

[00:27:36] Yeah, yeah.

[00:27:36] We're building the in particular this movie is like really laying the foundation, I think.

[00:27:41] But we're building the pathway for the more memorable Shattered Rolls that we're going to see soon.

[00:27:47] Exactly.

[00:27:48] Yeah.

[00:27:48] I mean, this is 69.

[00:27:49] We're two years away from like Clute and French Connection,

[00:27:52] which are kind of like the two big ones that launch him.

[00:27:54] Right.

[00:27:54] Yeah.

[00:27:55] And so, yeah, it's so we have a couple movies to get there, but it's like, oh, man,

[00:27:58] they're like it's right here.

[00:28:00] Like the Shatters happening.

[00:28:02] The world cannot deny that Shatter is happening right now.

[00:28:06] Any scenes or moments to stand out to you in Stiletto besides that beach scene, Mike?

[00:28:10] Anything else that you want to bring up?

[00:28:12] The beach scene, which OK, I'm thinking of the like the literal Monty Python

[00:28:17] reference that I was thinking of.

[00:28:19] Basically in Holy Grail with Sir Lancelot when it's, you know,

[00:28:23] that scene of him sprinting at the at the castle and it's just the same exact shot all

[00:28:26] the time.

[00:28:27] And then when he finally gets there, he's just like, ha ha.

[00:28:29] He's just knifing everybody in the wedding.

[00:28:31] That's what it feels like when he finally catches the guy that he's trying to hit

[00:28:35] on the beach.

[00:28:35] It's so funny.

[00:28:38] So there's that other scenes that stood out to me, I think the attempted

[00:28:42] hit by the like catering delivery guy in the pool on Stiletto.

[00:28:48] Yeah.

[00:28:48] Finally, trying to kill him when he wants out.

[00:28:51] He's just constantly exercising throughout the whole movie because he's just such a

[00:28:54] fucking hunk or whatever the movie is trying to tell us.

[00:28:57] And yeah, the guy climbs up on the roof of his penthouse or wherever he lives.

[00:29:03] I don't really understand his living situation, but the guy is like in a skylight

[00:29:08] above the pool where Stiletto is working out with his like man servant guy,

[00:29:12] whoever lives with him.

[00:29:14] Right.

[00:29:15] And he shoots him and it's a whole big fight and they're like fighting the

[00:29:17] fistfight in the pool and they're trying to drown each other and stuff.

[00:29:20] That was neat, I guess.

[00:29:20] I don't know.

[00:29:21] Yeah, yeah, there's that.

[00:29:23] I think the movie also ends in Italy, right?

[00:29:25] It's Puerto Rico.

[00:29:27] Puerto Rico.

[00:29:27] OK, yeah.

[00:29:28] So I will say I watched Stiletto almost a week ago at this point and so much of the

[00:29:32] movie has left my brain at this moment.

[00:29:36] I used to take so much more detailed notes for the complete works.

[00:29:40] I used to be very, very strict about that.

[00:29:41] Yeah.

[00:29:42] I was like, you got to remember to take your notes.

[00:29:44] And in the last year or two, it's like, OK, now it's just like an iPhone app,

[00:29:49] like an iPhone notes app.

[00:29:50] And if anything stands out to me only related to the actor that we're talking

[00:29:54] about, I'm going to write that down.

[00:29:57] Definitely used to have a I had a notebook for Cage and Goldblum.

[00:30:01] I did the phone notes for most of Yo and then the back half of that season.

[00:30:06] And now I just give I don't take notes.

[00:30:08] I also usually watch them a day or two before we record.

[00:30:11] So that's true.

[00:30:12] But yeah, I do like still occasionally do the phone notes here, but I have

[00:30:16] like maybe three or four full notebooks of like Cage, Goldblum and Yo notes.

[00:30:21] And then eventually it's kind of the kind of just trail off,

[00:30:24] which is what I'm generally fine with.

[00:30:26] I think we the comfort, the podcast has become more like conversational and less

[00:30:30] like just like we're rigid going through plot, plot beat by beat.

[00:30:34] But at the same time, I forget almost everything that happens in stiletto.

[00:30:39] So the very end of this movie takes place in Puerto Rico.

[00:30:42] And it's the cop is finally tracked down stiletto.

[00:30:44] But at the same time, like Mateo's hit man is after him.

[00:30:48] Right.

[00:30:48] Right.

[00:30:48] And he's also stiletto is meeting Mateo in Puerto Rico.

[00:30:54] Dr. No, that's the whole setup so that his hit man can take out stiletto.

[00:30:57] But the cops, the one cop, the detective is hot on his trail.

[00:31:01] Yes.

[00:31:01] Because they got to Brett Eklund and tapped her phone earlier in the movie.

[00:31:05] Right.

[00:31:05] And she sounds right.

[00:31:07] Yeah.

[00:31:07] Something like that.

[00:31:09] And this sequence is like this is this is like actually particularly what I was

[00:31:12] like thinking of in terms of like bullet and chase scenes and stuff because it's on

[00:31:15] foot. It's a foot thing.

[00:31:17] But it's the hotel where the cop has seen Mateo through like a viewfinder,

[00:31:22] like the things that are like on docks or whatever.

[00:31:25] Or you could look out over the landscape, whatever.

[00:31:28] And he sees Mateo and now it's him walking really fast.

[00:31:34] And it's like him getting on a gondola or whatever.

[00:31:36] Like it's just like trying to catch up to Mateo.

[00:31:39] And it's why I assumed Italy because I was like, oh, gondola.

[00:31:42] Yeah.

[00:31:42] Yeah. And it's just like on it's like it's like a sort of just casual foot chase,

[00:31:48] like where they're just walking.

[00:31:50] This must have been so intense.

[00:31:52] At the same time, I think because of the movie that preceded it,

[00:31:56] that like last couple of minutes is kind of exciting.

[00:31:58] Yeah.

[00:31:59] Because it's like, oh, something's happening.

[00:32:01] Something's happening.

[00:32:02] It's actually really funny.

[00:32:03] I was watching that sequence and I also forgot a lot just like structurally movies

[00:32:09] in 1969 have opening credits, right?

[00:32:14] You watch the whole credits at the beginning.

[00:32:16] I had moved my mouse and saw the progress bar and I was like, seven minutes.

[00:32:21] How are they going to finish this movie in the next two and a half minutes?

[00:32:24] I'm expecting five minutes of credits or whatever.

[00:32:27] And I was like, oh, it is going.

[00:32:28] So now I'm watching the clock and it's like really tense.

[00:32:30] And yeah, it's like the same thing.

[00:32:32] I'm like something's finally happening.

[00:32:34] And I thought they were on a very short clock.

[00:32:37] And then, yeah, it ends and it just hard cuts to credits and says like the end.

[00:32:40] I'm like, well, that's awesome.

[00:32:42] There it is.

[00:32:43] And Stiletto dies, right?

[00:32:44] Am I correct?

[00:32:45] Yes.

[00:32:45] Yeah.

[00:32:46] OK.

[00:32:46] He gets in the cop and the cop.

[00:32:48] Yeah.

[00:32:48] Mateo kills both of them.

[00:32:50] The hit man.

[00:32:51] I think they like go down some tunnel and the hit man's looking on looking down

[00:32:54] the tunnel and he the hit man shoots Stiletto who comes out around the corner.

[00:32:58] So Mateo shoots him.

[00:33:00] So I think Mateo actually kills Stiletto.

[00:33:02] OK.

[00:33:02] And from the other side of the tunnel, the cop comes out and kills Mateo.

[00:33:06] And then it's him walking through the tunnel and he gets to the very end.

[00:33:10] It freeze frames on him.

[00:33:11] And then you hear the gunshot from the hit man who's waiting,

[00:33:14] not knowing it was the cop coming out, you know, kind of thing.

[00:33:16] OK.

[00:33:16] So all three of them die.

[00:33:18] Everybody dies.

[00:33:18] OK.

[00:33:19] And then just freeze frame the end.

[00:33:22] Yes.

[00:33:23] Like, whoa.

[00:33:24] Yeah.

[00:33:24] Good.

[00:33:25] Yeah.

[00:33:25] I think a solid ending.

[00:33:28] It's a weird thing where like, oh, the first like five, 10 minutes

[00:33:30] this movie pretty good.

[00:33:31] The ending of the movie pretty good.

[00:33:33] Everything in between.

[00:33:34] Man.

[00:33:34] Really boring.

[00:33:35] The in between hour 20.

[00:33:38] It's pretty rough.

[00:33:40] Yeah.

[00:33:41] I guess the M.M. at Walsh scene is pretty funny, is good to you also.

[00:33:45] Where he's the mechanic or, you know, the race car partner or whatever

[00:33:51] to Stiletto's driver.

[00:33:54] Yes.

[00:33:54] And he like flicks a switch so like the car starts spewing all this smoke.

[00:33:58] So they have to pull over right in front of this house.

[00:34:00] How convenient while we're practicing our racing run.

[00:34:03] Yeah.

[00:34:03] Why don't we just go in here and use the phone with Stiletto's too smart for that.

[00:34:07] He knows exactly.

[00:34:09] You don't want to mess with Stiletto.

[00:34:10] He's got this.

[00:34:11] Yeah, I liked that scene.

[00:34:12] I mean, and I think the early Olympia Dukakis appearance is pretty nice, too.

[00:34:16] I think her scene where she's like, I think she's being interrogated

[00:34:18] by the cop or something like her husband's the one that died.

[00:34:21] Yes.

[00:34:21] She is the wife of the witness that gets killed in the casino.

[00:34:25] Yeah.

[00:34:25] Yes.

[00:34:25] And I think and I think her scene is pretty good.

[00:34:27] I feel like there's like a funny joke in there somewhere, but I forget what it is

[00:34:30] because I watched this movie a week ago and it wasn't that memorable.

[00:34:33] Yeah, it's gone.

[00:34:36] So there it is.

[00:34:37] Any other last thoughts about Stiletto, Mike, before we wrap this up?

[00:34:39] You know, just really I'm not mad.

[00:34:41] I'm disappointed.

[00:34:42] Basically is how I feel.

[00:34:44] I think we both like last week kind of like, oh, man, cool.

[00:34:46] 1969 crime movie hit man who's retiring from the mob.

[00:34:50] Like it sounded great.

[00:34:51] We were like on board for Stiletto and yeah, we're both just a little bummed

[00:34:55] that it wasn't better.

[00:34:56] But there are other people who have thoughts about Stiletto, Mike.

[00:34:59] Let's get into some letterbox reviews.

[00:35:01] Yes, all 100, 150 views.

[00:35:04] I don't know how many reviews there are.

[00:35:06] I believe there's like, I don't know, less than 25.

[00:35:10] Amazing.

[00:35:11] It's a small number, but I got a couple here and the first one is from Gary K.

[00:35:16] It's a one and a half star review which reads, damn, did this just suck?

[00:35:21] I had high hopes from the Sapientone prologue to the super swing in 60s opening,

[00:35:25] but this quickly became an almost incomprehensible slog on the surface.

[00:35:29] It should have been so much fun.

[00:35:31] A super suave racing driver assassin wants out and his employers turn on him.

[00:35:35] All the while, a smart cop tracks him down.

[00:35:37] The cast was uniformly terrible.

[00:35:40] Alex Corden, the title role is all chin and no charisma.

[00:35:43] Brit Eklund looks good, but can't really act.

[00:35:45] Patrick O'Neill has but one Noah and overplays it.

[00:35:48] The various cameos of very famous actors in very early roles is fun,

[00:35:51] but ultimately makes the movie all the more frustrating.

[00:35:54] Oh, what could have been?

[00:35:56] Yeah.

[00:35:57] Oh, what could have been is the appropriate response for me.

[00:35:59] I think.

[00:36:00] Yeah, definitely.

[00:36:01] Here is a one and a half star review from Mark Tinta.

[00:36:04] Hollywood tried its damnedest to make Alex Corden happen in the late 60s

[00:36:08] and duds like Stiletto are why it didn't work out.

[00:36:11] Based on the Harold Robbins novel,

[00:36:12] Stiletto stars Corden as Cesare Cardinale,

[00:36:15] a jet set playboy racing driver with a secret life as mafia hitman.

[00:36:18] After whacking a series of witnesses set to testify against his boss, Matteo,

[00:36:22] Stiletto decides he wants out to enjoy his riches and settle down with one,

[00:36:25] if not both of the women that he's betting.

[00:36:27] That's easier said than done when Matteo decides Stiletto knows too much.

[00:36:30] He's also calling him Stiletto and orders a contract on his life.

[00:36:35] Plus, he's got dogged FBI agent Baker on his tail, directed by journeyman Bernard

[00:36:40] El Kowalski, who also had the cartographically challenged volcano folly,

[00:36:44] volcano folly, Krakatoa east of Java in theaters at the same time.

[00:36:50] Stiletto is a dull and often incoherent misfire that stumbled out of the gate and

[00:36:54] never finds its bearings.

[00:36:55] Cord fared better on TV and in supporting roles in the 70s,

[00:36:58] but he's a bland leading man as shown by his other 66 through 1970 flops,

[00:37:02] stagecoach, the Brotherhood and The Last Grenade.

[00:37:05] His only good film from the star period is the 1968 Italian spaghetti western,

[00:37:09] A Minute to Pray, A Second to Die.

[00:37:11] What a great title.

[00:37:13] It's such a good title.

[00:37:14] If Stiletto is remembered for anything at all,

[00:37:16] it's the large number of familiar faces in tiny roles who went on to bigger and better things.

[00:37:20] A pre-fame Roy Scheider has a couple of scenes as an oily mob attorney.

[00:37:23] Olympia Dukakis as the next door neighbor of a whacked witness.

[00:37:26] Raul Julia as a leering party goer.

[00:37:28] Charles Durning as a cop who gets chewed out by Baker.

[00:37:31] James Tolkien is a Mateo mob associate and M. Emmett Walsh,

[00:37:34] Stiletto's racing mechanic.

[00:37:36] So there we go.

[00:37:38] I have one more review here, Mike.

[00:37:39] It's a one star review from Gsmooth89.

[00:37:43] I actually couldn't find like almost any positive reviews in this movie.

[00:37:46] Just none.

[00:37:47] Just none.

[00:37:48] Yeah, it's a one star review here.

[00:37:50] Not my cup of tea.

[00:37:51] For a while, I was trying to figure out what I was watching, who am I rooting for, etc.

[00:37:56] In fairness, I have been buying slash watching old 60s and 70s cops spy deep cuts

[00:38:03] looking for a film that I saw 10 minutes of one late night 30 years ago.

[00:38:08] The scene was a sniper in a building about to shoot our hero who is walking in a park.

[00:38:11] The hero sees the light hit the scope and both shoot at the same time,

[00:38:14] but the bullets collide and fall into the hero's hand.

[00:38:16] This had the look I remembered, but alas was not the film.

[00:38:20] Well, that movie sounds intense.

[00:38:22] Whatever it is sounds pretty good.

[00:38:23] I hope I hope that Gsmooth89 was eventually able to find whatever movie that was.

[00:38:29] I hope so that he found on TV 30 years ago and watched 10 minutes.

[00:38:34] I just want to say the poster for a minute to pray a second to die.

[00:38:39] The tagline is that's all McCord gives them.

[00:38:43] Hell yeah, I'm in.

[00:38:44] I'm watching this tonight.

[00:38:46] It sounds like instead of whatever our next movie is,

[00:38:48] we should talk about a minute to pray.

[00:38:51] We're pivoting to an Alex Cord season of the public.

[00:38:53] It sounds like it'll be a very quick season.

[00:38:57] All right, Mike D.

[00:38:58] Where can we find you online this week?

[00:39:00] You can find me at MD film blog on Twitter, Letterboxd and Bleasguy.

[00:39:05] And if you would like to donate, support the show,

[00:39:07] you could do that at our Ko-fi page, which is ko-fi.com slash Mike and Mike Pods.

[00:39:11] And you can also get merch on our Redbubble,

[00:39:14] which is Mike and Mike Pods dot Redbubble dot com.

[00:39:16] That's right. You can find me online at M Smith film blog on Twitter,

[00:39:19] on Twitter, Mike Smith, the letterbox radio, Mike sandwiched Instagram.

[00:39:23] Thank you so much for listening to Complete Works.

[00:39:24] I'm Mike Smith. That's my decree show.

[00:39:26] Don't forget to rate and review the show on Apple Podcasts or any other podcast app.

[00:39:30] And if you want to contact us, you can tweet at us at complete works pod.

[00:39:33] That's W R K S no O in the word works.

[00:39:35] And you can find the rest of our podcast and Rapture Press alongside many other

[00:39:38] podcasts, all kinds of comic books and movie news and all that good stuff.

[00:39:42] Our theme song was created by Kyle Cullen, who you can reach for your own podcast themes

[00:39:45] at Kyle's podcast themes at Gmail dot com.

[00:39:48] And our logo was designed by Mac V or at Fearless Guard on Twitter.

[00:39:52] Next week, we are entering the 1970s. Well, the future.

[00:39:57] Yeah. To talk about loving a movie starring George Segal,

[00:40:01] Ava Marie Saint and Sterling Hayden and directed by Irvin Kershner,

[00:40:05] director of The Empire Strikes Back. Well, yeah.

[00:40:08] So there's some pedigree behind this one.

[00:40:09] And what did he direct? Big chill.

[00:40:13] No, that's you're thinking of Lawrence Kasdan.

[00:40:16] I am thinking of Lawrence Kasdan who wrote Empire Strikes Back.

[00:40:19] But Irvin Kershner directed Empire Strikes Back also directed, I think RoboCop two.

[00:40:25] I want to say, but based on the Wikipedia page for loving,

[00:40:29] reception was pretty positive at the time.

[00:40:31] People liked this movie. So yeah, hoping for some good stuff here.

[00:40:34] Sounds good. And remember to check out

[00:40:36] our other podcasts might go to the movies for all kinds of other movie related stuff,

[00:40:39] including recent releases, ranked list, general discussions and a lot more.

[00:40:42] So thanks so much for listening, guys.

[00:40:44] And remember, because we couldn't think of another thing yet,

[00:40:47] always roid between the lines.

[00:40:51] We'll get there. We'll get there.