Episode Transcript
[00:00:17] Speaker A: I could be in one place forever. Let that place be great.
[00:00:31] Speaker B: Wake up, put on my makeup.
[00:00:34] Speaker A: Guess where I'm heading.
[00:00:57] Speaker B: This place is now.
If I could be in one place forever, let that place be Hollywood.
Yes, I, I, those people be singing in that song or that song for our theme.
And yeah, I'm like jamming right with the.
[00:01:27] Speaker C: I know, I love it. I never get tired of it.
[00:01:29] Speaker B: I know, I know you think I would be tired of it by now, but I just. Girl, they just be jamming so hard, it's hilarious. Well, hello everyone. If you cannot tell, it is I, it is I who is amongst you Bette Davis fans, you classic Hollywood movie fans. I'm Moya.
[00:01:49] Speaker C: And I'm Georgia.
[00:01:50] Speaker B: And, And Georgia, what is the name of this, this crazy show we got going on here?
[00:01:55] Speaker C: We've got the most delicious, salacious, scandalous.
[00:02:00] Speaker B: No, no, no, no. What's the name of our show?
[00:02:02] Speaker C: Oh, our show. Oh, I'm so sorry. What's our way. But anyway, no, we, it's called How Betty Davis Saved My Life. Life Lessons from Classic Hollywood.
[00:02:13] Speaker B: I was like, we are salacious. And I mean, I don't maybe and sometimes not all of it. You know, I gotta rev the engine up a little bit. I might go there with you. But yes. And so now, Georgia, now go into. Because if this, if this ain't no life lesson, if this movie don't teach you anything, doesn't teach you anything, well, I don't know what to tell you for sure.
[00:02:36] Speaker C: We're going to do Backstreet, the original backstreet from 1932. It is a pre code movie and they're really very tastefully touching on a subject that was considered rather scandalous at the time.
[00:02:51] Speaker B: Yes, yes. I mean, so let's, let's pull this up because guys, this was. Not that we're gonna see all that, but as you know, pre code is, is like, I don't know, Georgia, how do you. It's pre code and noir. Fam noir. Those are my favorite genres. How do you feel about pre code? Is it your favorite period or what is your favorite period?
[00:03:15] Speaker C: Ooh, well, you know, I love the 30s and 40s quite a bit. I love, love, love that. But I would say a very, very close second is pre code because I just, I can't get enough pre code.
[00:03:26] Speaker B: Yeah, yeah. And, and unfortunately, we only had really like five years for those. So those of you, you know, who've been with us for a while, you all know what we mean when we say pre code. We mean that period, I believe, between 32 and maybe 37.
[00:03:43] Speaker C: Georgia, correct me, actually, the Hays code started in 1934, so it'd be when we first had. Yeah, yeah, from the beginning. Yeah, from the beginning of movies, you know, when they first started talking in 1925. 29. Excuse me.
[00:03:58] Speaker B: Okay.
[00:03:58] Speaker C: From the very beginning, all the way until.
Just until 34.
[00:04:02] Speaker B: Okay, thank you. I know I was getting. I know it was five years. I'm. Y'all, I am so out of it right now. I didn't get much sleep and my stomach thinks my throat's been cut as the old Three Stooges line goes. So. So. But I'm here, I'm here, I'm here. But. Yeah, so pre coat. And so it wasn't anything goes. Like just. And it has some wild stuff, you know, and got. It got buried some of those movies, but it was just more realistic, more real to life. Everything wasn't a happy ending. It was. They talked about, like Georgia said about sex and relationships and picadillos and morals in a more honest way. Georgia, how would you describe pre Code?
[00:04:44] Speaker C: I think you just did a pretty good job. But it also covered a lot of other things like violence.
[00:04:50] Speaker B: Yeah.
[00:04:50] Speaker C: And drug. Drug usage.
[00:04:52] Speaker B: Yes, yes.
[00:04:54] Speaker C: They were very frank and very real, which is why I. I agree with you and what you said in a previous podcast. I wish they'd never done away with. With pre code. I wish they would had always stayed so honest and real as they had done. But, you know, it was due to some of the people the movie watching public were afraid that it would affect the morals of other people to see and, you know, drug use and sex talked about openly or portrayed realistically.
Violence. You know, we did a pre code gangster movie. We did Scarface, the original one, which is. Which is violent, you know, and their fate, it would glorify those lifestyles.
[00:05:31] Speaker B: Right. And very unforgiving. And you know, and it was so hypocritical of Hollywood because I cannot remember the name of this movie. It's. It's a documentary. It's on. Well, it was on Amazon. It was called Girl 2442. And forgive me, I. If I think about. I'll look it up. But anyway, it was about how this young lady was abused, sexually abused and well, sexually assaulted at a Hollywood. She was like a little starlet, a little chorus line girl.
She was assaulted. The studio covered it up, paid her mother off and this woman lived with this and. And I'm leaving a lot out. You know, she tried to get justice, but it Wasn't until years later the woman was a senior citizen when she finally was able to really tell her story and get her story out. And how these, the Hollywood machine and executives just did. And this happened more often than not. But yet, yet in all you wanted to put this haze code to try to c. Cover up the real evil that was going on and nothing's changed. You know, we, we, we have the me too movement, but that's been the casting couch, you know, forever. That, that's just a repackaged name for the casting couch. But we ain't come here to talk about all that. But that's why, but pre code, I always say too, Georgia, I, I think had pre code been allowed to keep going, I think that America would be less dumb or more, more savvy about the real issues of life. Do you understand what I mean?
[00:07:12] Speaker C: Yeah, I sure do. I like the honest portrayal here because I think the public could have handled it and I don't think that everybody would have just slid down a slippery slope to being immoral and irredeemable. I, I really don't think that would have happened.
[00:07:26] Speaker B: Right. I mean, because when you, you know, as I was saying, sunlight is the best disinfectant. So if people were disinfectant and if people are allowed to have, in my opinion, I'm obvious honest conversations about real life issues instead of. So after the Hayes cold got enforced because it always was there on a book sort of, kind of, and it wasn't really enforced, but after they, you know, they had several scandals, especially with Fatty or Buckle and just other things around and y'all go look all that stuff up. So like I said, but there's still a dirty dealing behind the scenes. Let's not get that twisted. But fast forward then you. So then you started having all these little corners and they look, they still made beautiful movies, you know, like Gone with the Wind and Wizard of Oz and all the kind. You had the golden age, but you got all these happy endings and, and corny endings and you know, something happened. If a woman did something bad, she had to be punished. Well, we know a lot of times that does not happen. People, they gotta wait to the other side of life to get their, their just rewards, as they say. But anyway, this movie is pre code. Backstreet 1932. Let's get into it. Georgia, what do you got for us?
[00:08:31] Speaker C: Well, I thought I would start out with a plot.
[00:08:33] Speaker B: Okay.
[00:08:34] Speaker C: Because it takes place around turn of the century Ohio. And so it's like the Gilded Age and The movie carries us into the 1930s. And so Irene Dunn. Oh, my gosh, I was blown away by her performance.
She is captivating, she is understated. I. I could just go on and on about her performance. But anyway, she plays this, this. She's a good girl, but she's also a carefree girl and a good time girl. She likes to party. She's fun, she's flirtatious. And she works in her father's general store. And so they have these traveling salesmen. They're older men who come through. And so she'll. She'll party with them. But she's always. We see her strength as she's fending off their advances.
And so she meets this dashing young banker that you see right here, played by very handsome John Bowles.
And she is swept off her feet, so in love with him. And so they were supposed to meet her mother and get her mother's approval or blessing.
[00:09:44] Speaker B: Well, his mother. His. His mother.
[00:09:46] Speaker C: Yeah, his mother. Right, his mother. And unfortunately, through a just a very unfortunate turn of events, they missed that meeting. And he goes and he thought. He thinks he's been stood up. So he goes on to marry another woman and they have two kids. And so guess what? The two of them meet up five years later and there's still that spark. They are still madly in love. And with that belaboring it too much, this movie carries their relationship through 30 years. Yeah, yeah. All the way to the very end of the relationship. And we see that at different intervals. Different intervals. You know, she becomes what we would term as a. This is an extramarital affair. She is a kept woman.
[00:10:32] Speaker B: Yeah.
[00:10:33] Speaker C: And he keeps her on, like, what we call the back street. That's how we get the name of the movie. She's kept. She has a secret life. She's kept hidden in the shadows. And she is living just strictly his convenience. And one of the things that. It really is very touching about this movie and very frustrating is that, you know, he is got everything. He's got prominence, he's got financially, he's very well off. He's got a family, children. He's got all the perks. And then he's got another woman on the side. Whereas. Well, as you see in this movie, the sacrifice that she makes, it is just unbelievable to me what she gives up. I mean, she's giving up her reputation, her openness. She has to be secret about what her life is about. She has to forego marriage, motherhood, having, being like she's. She's barely surviving I mean, she's not, she's barely getting enough, you know, she's not doing this for the money. It's obvious she isn't doing it for that.
[00:11:53] Speaker B: Oh, go ahead.
[00:11:54] Speaker C: Oh, well. So I, I think that this story could not have existed in mainstream Hollywood about, you know, a few years later after the code. It could not have. So this is like, wait, yeah. There's no way that even though they.
[00:12:09] Speaker B: Did it, they redid it in the 50s and the 60s, but it doesn't have this. I have, I don't think I've seen those versions, but I'm with you, George. I can't imagine them, imagine the movies having the same teeth as this. And they. And nothing against Susan Hayward who did the 50s or the 60s version. Then what's that other lady name? I'm sorry, I can't remember her name.
[00:12:32] Speaker C: She did Margaret Sullivan.
[00:12:33] Speaker B: Yeah. So she did the 50s version and then Susan Hayward is a 60s version. I believe. Correct me in the comments if I'm not correct.
I, I just don't think Irene Dunn does. It's Irene Dunn, like you said. It's her. What she brings to this role is spectacular.
[00:12:52] Speaker C: It is. And she was known as the first lady of Hollywood because she was just class personified.
Her prefer perfect performance is played again with such restraint. It's absorbing, it's masterful. This role establishes her as a star and as an actress and she raises this film far above the norm. You know, she, in all of the roles that she plays, she's always got this very warm and tender and deep sincerity. And I, I feel that when you see her in this, you really need to pay attention. How she ages beautifully. It's without the use of makeup. It's all in her eyes. It's in the way she carries herself.
[00:13:40] Speaker B: Right.
[00:13:40] Speaker C: Her eyes, her eyes take you right inside her character. And you have. And you never view her as a scarlet woman or as immoral. You don't. It's just amazing to me how she, this woman is classic personified and you look at her and you know in your heart she deserves more, she deserves better. But she can do things in a silence with her eyes that are absolutely amazing. I don't know that I've ever seen it quite done this way with another actress. Because she is that good, right?
[00:14:14] Speaker B: I mean, because you'll see, you know, of course, Betty is our queen and you will see Betty do well. She has the Betty Davis eyes, of course, but because it's Irene Dunn and she is a triple threat. Sing, dance, act and Like I said, this was just really a coming out for her because she had. Did other. I think she was in a silent era, probably the last throws of the silent errand era too. Georgia, do you know, I think she was in. She kind of cut her teeth in a silent era.
And then to just transition into playing these. Like I said, she was a triple threat, saying, we know she had a beautiful voice, sing, dance and act and she could play comedy and drama, as you see with this movie. But like I was saying, compared to Betty and Joan and other people, it. Because Irene Dunn had that innocence, that aura, and she just played a woman participating in her own demise. Let's not get that twisted. But a woman being taken advantage of.
You almost couldn't get mad with her.
I was, but not for the why. I normally would be. I felt pity for her. Normally I would not, but I did.
[00:15:30] Speaker C: Yeah, I know. Because, you know, she deserves so much better. And you know, the. This is the choice she decides because she wants love, true love above all else. And then it makes you really question, is true love more important than anything? And I have to tell you, as I thought about this movie, it befuddled my sensibilities, but I had to answer with a resounding no. True love is not more important than everything. And I was very surprised in myself for thinking that. Oh my.
So, I mean, yes, you. I think you can take love and devotion too far. And I. I really surprised myself by wanting her to marry another character. This was clearly a man she liked. He loved her tremendously, wanted to marry, in fact, proposed marriage to her. He could have gotten her. She would have been well off. She would have had respectability, children. And yet she turns it down because this is the great love of her life. And this is also the great love of his life too. Let's not. I mean, as. As much of a jerk as I think John Bull's character is because of the way he does her and. And all that, and the choice he makes to keep her this way and, you know, and to expect her to sacrifice all that she does. I still would have rather seen her marry somebody else because I know this sounds ridiculous of me to say it, but I think she could have grown to love this other person because he was. I like the other character.
Goofy, but I liked him.
[00:17:09] Speaker B: Let me. I. I'm gonna revisit that. The other character, the other guy who was in her life. But I just want you all and, and we. This is for free on YouTube. Go check out.
I'll see Mr. JJ's channel. Anyway, I'll put a link in the description box. So this is after she's agreed to be the other woman. This woman had a career. She went from some small town, worked her way up into corporate. Okay, gave it up. So he gets her an apartment. She's a kept woman like Georgia said. Gets her and she quits her job to be this man's pretty much own. Own call. Booty. Booty. Yeah, we got booty calls, but I don't call booted. All right, same thing, but a little different. Just, just a little bit more attention, but not by much. So anyway, just check out this scene. So this is. This is how she spends her days.
[00:18:25] Speaker C: Hello.
[00:18:40] Speaker D: Glad to see you.
[00:18:41] Speaker A: Of course I am.
[00:18:42] Speaker D: I didn't dream I shouldn't be here at all, but I managed to slip.
[00:18:45] Speaker A: Away for a few seconds.
[00:18:46] Speaker D: I had to see you, Ray.
[00:18:47] Speaker A: Oh, I'm so glad you did miss me. Well, you'll never know how much it's been. Terrible, silly.
[00:18:53] Speaker D: It's only been three days.
[00:18:54] Speaker A: Only three days. That hasn't meant much to you. You've been so busy every waking moment. But how about me listening for the telephone? Strange. Straining to hear your key in the lock. Waiting and waiting. Oh, Walt, it's been a awful.
[00:19:08] Speaker D: I'm terribly sorry.
[00:19:10] Speaker A: Really doesn't matter now.
[00:19:14] Speaker B: Girl Neville sound like a damn prison sentence.
She's. She is in a prison. She's in a gilded cage.
[00:19:24] Speaker C: Yes, you are so right. She is. But you know, in the beginning opening card, it says that this was like before the 18th Amendment prohibition, which was going to come later. But you know, women didn't even have the vote because that wouldn't come along later until later. So this is an age where women are just not liberated. And it made me wonder if a lot of women during the depression area era, if they were so down and out and didn't have any means of support, if a lot of women maybe had an arrangement like this, it made me start wondering about it.
[00:19:58] Speaker B: Wow, that is girl.
That is profound. Georgia.
Huh? But, but, but, but, but.
[00:20:07] Speaker C: Right.
[00:20:08] Speaker B: This woman had a career.
[00:20:10] Speaker C: Yes.
[00:20:12] Speaker B: So everybody wasn't thirsty or struggling. So we can't say that about this character. And George is going to get a little bit into Fanny Hearst because she, she so that name. I, I, when I first found out she's the. This was based on the book and like I said, it became an adaptive screen play and I was like Fanny Hurst. Fanny. And so I looked at oh, Imitation of Life and so George and I were going to hopefully do A reaction video to that in the near future. But Fanny Hearst, she tended. She tend. Tended to write independent women. And for those of you who. Who've seen Imitation of Life, you know what I'm talking about. So these women had careers. They were quote, unquote, liberated. So in my opinion, there was no excuse like this. What you're saying, Georgia, that she. This woman had no reason to do that to. To.
[00:21:09] Speaker C: You're right.
[00:21:10] Speaker B: You know.
[00:21:10] Speaker C: Yes. She. She met him in New York and she had a pretty good career there.
[00:21:14] Speaker B: Yeah.
[00:21:15] Speaker C: On her own. And. And she was like more advanced, you know. Liberated, I guess you could say.
[00:21:22] Speaker B: Yeah.
[00:21:23] Speaker C: Then most women, over time, totally independent on her own.
[00:21:26] Speaker B: Right. Doing well, because you could see how she was dressing when he meets her. When they meet up again accidentally on the street girl, she has fur trim this and that. Our hair is quaffed. So she was not. She did not need a man to take care of her. So let's be clear about that. And I have not read the book. If. Please let us know in the comments if you've read the book. Is it different? How is it different? We'd appreciate it. But let's go to the man that Georgia alluded to, the other guy in her life. This was a hometown boy done good. And he's. He. He has money too. And so let's take a look at how he reenters her life.
[00:22:09] Speaker D: Ray.
Ray Schmidt.
[00:22:14] Speaker A: Why, Kurt.
Kurt Sandler.
[00:22:18] Speaker D: Well, I know I had the right house and street number, but I didn't think I'd find you waiting on the doorstep for me. Oh, gosh, Ray, you're a sight for sore eyes.
[00:22:26] Speaker A: Where do I get my breath?
Where in the world did you come from?
[00:22:30] Speaker D: A Detroit.
[00:22:31] Speaker A: I never in the world would have known you. My, you look well. And so prosperous too. What have you been doing?
[00:22:38] Speaker D: What have I. Oh, don't you know?
[00:22:41] Speaker A: What?
[00:22:41] Speaker B: Oh, look.
[00:22:42] Speaker D: Do you see that? That's a Kurt Sussex.
[00:22:44] Speaker A: Well, I know that. Everybody does.
[00:22:46] Speaker D: Well, I'm the Kurt boss.
[00:22:48] Speaker A: You?
[00:22:49] Speaker D: I certainly am.
[00:22:51] Speaker A: Why, Kurt, I can't believe it. What are you doing here?
[00:22:55] Speaker D: I'm here on business. You know, this is my first time in New York, and I want to see the town while I'm here. So you're elected to show me the sights. Is it a go?
[00:23:03] Speaker C: Sure.
[00:23:04] Speaker A: Thanks.
[00:23:04] Speaker D: You know, Kurt, let's start right now and go someplace where it's cool. This heat's awful.
[00:23:10] Speaker B: So he proceeds to whiner and diner and winter over. And of course, he asks her to marry him again.
And.
And let's See, I'll come back to this in a second. I love this scene as well.
And he asks her to marry and, and, and so spoiler, we all going to spoil some of this. So if you don't want to hear this part, just don't turn us off or just put your fingers in your ears. So they sheep. Now this is that her and John Bowles's character, they were taking a break because he had to tend to his family, had to tend to his business. And, and he just left her in a lurch. All right. He went off to Europe and all this kind of stuff. And so, you know, she was like, well, hell, I need something to do. I need, I need somebody. And so just so happened, Kurt comes back in her life, offers her, offers her marriage. Like Georgia says they go back to Ohio where they're gonna set up shop with a homestead. And anyway, so Georgia, you felt like I, I'll come back to this scene. Georgia, you felt like you, you wished she'd have married the other guy. That's what you said.
[00:24:20] Speaker C: I do.
[00:24:21] Speaker B: So you were disappointed when they didn't get married.
[00:24:24] Speaker C: Very disappointed.
[00:24:27] Speaker B: Because you felt that he'd have been a better choice.
[00:24:30] Speaker C: I think he would have been a far better choice.
Yes, absolutely. Moya. I, I totally do. Because to be perfectly honest, I felt like this tragedy struck me that she had a wasted life. And it just, that's what it gave me. My God, it just hit me so hard. And, and, and I thought she. I love this character so much. That's why I think it hurt. It's such a tear jerker. It's such a tragedy. And I felt like, yes, she would have gone on to be happy. I could be wrong. It's just my opinion, but I was on Team Kurt Schindler.
[00:25:09] Speaker B: I was too. And that's why I'm glad he didn't marry this clown. Yes, I'm calling her a clown. And let me tell you why. So let me show you why. Because once again, this woman knew better. Plus, look, she's helping this man commit a dust. She's a fornicator. John Bowles is an adulterer. Yes, I'm using biblical terms. I don't care. The truth don't care where it comes from. The truth is the truth. So she's not innocent. Okay. She is a home wrecker. She is helping John Bowles's character to commit adultery. She's. He's cheating on his wife with her. And she knows this is wrong. Okay, everybody, let's not kid ourselves. But to prove my point.
Why she is a clown. And let's go with. Let's go. And I'm glad I'm with you. I'm on Team Kurt for different reasons, because she would have destroyed him. And, yeah, I get what you're saying, Georgia. You can learn to love somebody. But I will show and prove my point in a second. But just listen to this, guys.
[00:26:07] Speaker A: That was you, too, huh? He did a lot. And that's all I ever wanted from him.
[00:26:11] Speaker B: Right.
[00:26:11] Speaker A: I just stalled for him.
[00:26:13] Speaker D: Work for.
[00:26:16] Speaker A: What?
[00:26:20] Speaker B: This is her neighbor coming to visit her. A neighbor got injured in the fire, so she's coming to just visit with Ray for a second, and they just start having this conversation. So let's take it from there.
[00:26:31] Speaker A: All right.
[00:26:32] Speaker B: And this is a weird print of this movie. I. I wasn't sure which one I had watched, but it's that wobbly background. Don't look at it if you got. If you get seasickness, so. But there's hopefully other better prints of this on YouTube about 7.
[00:26:49] Speaker A: Sure. I'll be ready. Bye.
[00:26:52] Speaker B: Now she's talking to Kurt. He's supposed to come picking up. And all this.
[00:26:55] Speaker A: Have a good time, Sampson. Oh, Grant destroyed VC Yankees. And you should have heard Kurt yell. He's an awfully nice fellow. Oh, Kurt, swell.
Have you been crying again? Oh, Ray, I can't help it. I think I'll go crazy if I don't hear from Jim. Oh, Francine, I wish you'd stop.
He's not worth it.
I wonder if any man is.
Oh, I. I know it's pretty tough on you right now, but. But you're so well out of it. You're free now. Free to come and go and do as you like.
[00:27:25] Speaker B: So if you're not picking up on this, she and her neighbor are in the same boat. The neighbor's a kept woman. She's a kept woman. And so now here's her speech to her. Dig this.
[00:27:34] Speaker A: But Ray, I love him.
What about him? I suppose he loves you, too, huh? He did. A lot. And that's all I ever wanted from him. Ray. I just starve for him, work for him, anything. All I wanted was his love.
That's all you've got. All you ever get.
You don't get that for long.
Francine. What can a man like that do for you? Can he take you out any place? Can he be seen with you in public? Introduce you to his friends? Uh, all he could. All I can do is tuck you away someplace in a side street and let you wait Wait for the telephone to ring. Wait for unsigned postal cards and typewritten letters.
If I could only hate him. If I could only stop loving him. You will. Look, Francine, take my advice. Get out of it before it's too late. Find some nice boy, marry him, settle down, have kiddies. That's the only way to be happy. I know what I'm talking about. There isn't one woman in a million who's ever found happiness in the back streets of any man's life.
Hello, Ray.
Oh, darling.
[00:29:00] Speaker C: Take your own advice.
[00:29:02] Speaker B: I said on the other hand.
[00:29:06] Speaker C: Yeah, right, Moya.
[00:29:09] Speaker B: Haven'T said that. But then y'all the shadiness and the hypocrisy of it all. But wait, there's more. Check this boo this BS out.
[00:29:19] Speaker A: I want you to meet a little friend of mine, Francine. Francine, this and this is Walter. How you doing, Mr. Schmidt?
[00:29:27] Speaker D: How do you do?
[00:29:28] Speaker A: Heard quite a lot about you.
[00:29:31] Speaker B: Now did you catch that?
[00:29:33] Speaker C: Yes, I did.
[00:29:34] Speaker B: Audience, did you catch that audience? Girl, go sit down, have several seats. Irene Dunn character.
[00:29:42] Speaker C: She doesn't correct her.
[00:29:43] Speaker B: She heck no. No.
And you done gave that woman that. How do you say? Physician heal thyself. Girl, go have sex. Several seats. No ma'am. And so you know, at this point, you know it's game on. So goodbye Kurt as well as Kurt, you've had it. All right. So that's why I, I disagreed with, with her marrying her because I it wouldn't have worked out because soon as that cat came back, boom. You know what I mean? And she only went. I think I'm gonna get my timeline wrong. She only really accepted his marriage after because I think that's when John Bowles tell her, tells her that they going to. He has to go to Europe. I can't remember anyway this old song. The cleanup woman. Well, Kirk was a clean up man. So he comes and clean up the messes that the other man leaves behind. You know what I mean? So that ain't right. You know, Hazmat dude.
[00:30:46] Speaker C: Yeah. She probably would have played around on him. Yeah, I, I, I totally see that. Yeah, she would have gone back into Walter's arms.
[00:30:53] Speaker B: Yeah. If not Walter some other man. Because she did not love that dude. And you can't make yourself he if he, he just don't do it for you. I was about to say something else, but no, he just don't do it for Georgia. What else you got?
[00:31:09] Speaker C: Well, okay, in, in talking about Fanny Hearst, the author of this story.
She was the queen of depression area sob stories. And as Moya mentioned before, yes, she did Imitation of Life in addition to this movie. And she was like the modern day Danielle Steele. I mean, women would like to, you know, an escape from all the Depression era things going on and they would love to read these stories about women and these melodramas. And this movie actually is very similar to. In some ways it paralleled a little bit about what Fannie Hurst herself went through in her own life. And Moya, I don't know if your research showed any of this, but she also kind of had a clandestine life while she was married because she actually secretly married this Russian immigrant who was a pianist. And she hid her marriage from the public. She kept her maiden name. They maintained separate residences. And so what happened was about five years into the marriage, it became a scandal when it was discovered that she had been secretly married. She refused to change the arrangement until he died. She would not change her name, she wouldn't have a share a residence with him. And then when he did die, she mourned him the rest of her life. She always wore a calla lily, which was the first flower he'd sent her. And she would write letters to him every week even after he passed away. So talk about love. That is just.
[00:32:51] Speaker B: She kind of wrote about herself because that has echoes of that arrangement with Irene Dunn and John Bowles, don't you think?
[00:32:58] Speaker C: Absolutely it does, yes.
[00:33:01] Speaker B: Amazing. That is. I love her and. And like I said, we're gonna do Imitation of Life prop. Like I said, probably one of her best known books to screen adaptations. But yeah, I've never seen it before, so. And those of you, and shout out to all our listeners and followers, thank you guys so much. We just love talking to you guys and talking about these movies and you guys listening and watching. So thank you all. So if you're not subscribed, don't forget to like share, subscribe, subscribe and comment on the platforms. That really helps us out. And on our YouTube channel, we are almost to 50 golden. The golden subscription number. So help us get to 50. We are so close. We only need a few more people to subscribe, so. But thank you all for our people on YouTube who are sticking with us. We really appreciate it. But I was just about to say for the people who cannot see, I have a picture of Fanny Hurst on the screen and I never, I've never seen it before. But this is, this is a website called missouriwomen.org she's from Missouri, obviously, but you can learn a little bit more about her on Here and Georgia. But that story, she was just. She could write honey. That's all I could say. That girl I like. I was in it when I. Because I first saw.
I first saw Imitation of Life. I think I saw the 1930s version with Claudette Colbert and Louise Beavers. Then I saw the one with Lana Turner. I hope I'm saying, remembering that right, but. Because everybody kept going on about the scene with Mahalia Jackson and. And the mother and the daughter, so.
So it's a tear jerker. Go get your. You will need a box of Kleenex regardless of the versions. And both versions are stand on their own. I don't think one is better than other. But yeah, go check out Imitation of Life. But we're gonna do that one here. But yeah, go ahead. Fanny Hearst, you did that?
[00:35:03] Speaker C: Oh, she did. But you know, there's a couple of scenes in this movie that I thought were kind of funny.
[00:35:08] Speaker B: Okay.
[00:35:08] Speaker C: And this is. How many other movies will you see somebody referred to as a flibberty gibbet?
[00:35:14] Speaker A: I know.
[00:35:15] Speaker B: Yeah, I haven't heard that. I heard that before and I can't remember where. But in another movie. Yeah, Flippity girl, that cracked me up.
[00:35:22] Speaker C: There is a scene at the beginning where it takes place, like I mentioned is before prohibition, but the family, including the three kids, they're all sitting down around the table and they're drinking beer.
[00:35:37] Speaker B: Yes. Yes.
[00:35:39] Speaker C: Oh, my gosh, look at that. That's amazing. And if you want to see a take on this. That is so funny. But it really nails and makes how. And it makes you laugh at how ridiculous this whole premise is. Carol Burnett did a spoof and she called it Back Alley.
[00:35:57] Speaker B: Really?
[00:35:57] Speaker C: And yes, she made it in, I think 1973. So if you get a chance, look up Carol Burnett doing a spoof or a parody of this movie. She called it Back Alley. It made me laugh my head off. Because if you see this movie first, then see the spoof of Back Alley, you will laugh because it shows how obsessively sacrificial she is and the way they show how the aging takes place over time. You will roar with laughter. Carol Burnett, it was funny in this.
[00:36:32] Speaker B: Oh, man. It's called Back Alley. I'm looking for it. I don't see it on YouTube. If somebody sees it on YouTube, drop it in our comment section or the chat section because I don't see it on YouTube. I bet this girl hoot.
[00:36:46] Speaker C: It is a hoot. You gotta watch it. You will laugh your head off at how ridiculous the Premise is. I think I might have seen it on Hulu. Oh, it might have been on Hulu. So don't quote me. I'm not 100 sure, but I think that's where I saw it.
[00:37:02] Speaker B: Okay. I want to find that. That scene. I want to show that scene where the kids are drinking that beer. I could not believe that. I was like, what?
[00:37:12] Speaker C: The whole. The kids are drinking beer?
[00:37:15] Speaker B: Well, you know it, because it's probably true.
But you know. You know these people. It's probably German beer garden. But in. One of my friends told me they went abroad. I think they were in France. And kids can drink wine in France. I was like, what? I'm like, I got. I got beat out of drinking liquor.
[00:37:39] Speaker A: Wild.
[00:37:39] Speaker B: Drank liquor. When I was little, we were. It was different times, y'all. So they let. Used to let us sip on beer, but we ain't never. Girl. We were never as bold to have your whole dog on beer to yourself. Gee whiz.
[00:37:51] Speaker C: So there's some scenes in here that I just thought were funny, and that was one of them.
[00:37:54] Speaker B: But that. No, that was so freaking funny. Well, guys, we're about to end this with Backstreet Georgia. Kind of. You. You want to conclude it because you kind of alluded to the conclusion in your introduction, but I'll let you finish it out.
[00:38:13] Speaker C: Well, if you watch this move. The main reason that I think this movie is to be recommended is because of Irene Dunn's performance. It is absolutely captivating. It is.
If you want to go to acting school. Yes. Watch this lady. She does it with such class. You never feel like you're. It's. It never becomes smarmy. They keep it where they're being honest. But yet we. We know things that happen, but they happen between the years and they're off camera. We know these things that go on.
[00:38:48] Speaker B: Right.
[00:38:48] Speaker C: But it's just so, I think, tastefully done. And I'm such an Irene Dunn fan anyway.
And because I like her skill as an actress. And this is, to me, the main reason why I highly recommend this movie. But it's not a movie that I want to see again and again. It's once and I got it and I love it. And that's it.
[00:39:14] Speaker B: Yeah, I totally. I love how you say that. And, you know, we don't always point out, well, today's life lesson, you know, But I think we already touched on it.
And. And it happens to men, too. No, no real man's gonna be no kept man, like. Like a gigolo or something. But, you know, Men have feelings too. But whoever's getting the short end of the stick in the, in the. And why do people allow themselves to do that?
And you just want to shake her and, and just say what are you doing? But I love what you said, Georgia. It was, it was just so romantically that I'm not gonna say the ending, the ending was so romantic that I was like now, come on now. But, but we've, but I've heard several stories, Georgia of that happening. And I don't want to say what, what happened. I want you to go and look at it. But that has happened in real life. So it's not impossible that ending at all. But yeah. Oh gosh.
[00:40:14] Speaker C: It made me empathize with her even though I knew that she. What she was doing was absolutely wrong. And you know, and in our society, you know, in, in a. I know it could be negative or positive, but shame and guilt can be moral regulators.
[00:40:27] Speaker B: Yes.
[00:40:28] Speaker C: And, and, and so I thought, you know, I mean I, I like these two. But the way the movie is done, it makes you be against their affair. It really. You like them, you sympathize with them, but you are against. I mean the way the movie is done, you are. It makes you want them not to. Not to do this. But. And then you see later on, I mean there becomes a couple of other things that become apparent.
[00:40:52] Speaker B: Feel sorry for him. Not to cut you up, but I. Girls, kudos to Irene Dun and Fanny Hurst and the lady who adapt adapted it, the play. I really felt sorry. I shouldn't have felt sorry for him, but I did.
[00:41:04] Speaker C: Me too. I know. I thought why am I like she.
[00:41:07] Speaker B: Like I said.
[00:41:09] Speaker C: But I am. I could not help myself.
[00:41:12] Speaker B: Right, right.
[00:41:13] Speaker C: Because she wasn't in it for the money. She wasn't a gold digger.
[00:41:17] Speaker B: No, she actually lost a lot doing this foolishness. But I, I felt sorry for him. I felt sorry for her. And let me just say we don't give away too much. The other parts of his family got involved early on.
One of his uncles or older gentleman I think it was his uncle or his in law tried to low key tell him bro, you need to pump your brakes, you know. So they had every opportunity to stop this. So I think in conclusion you're going to either be in two camps that hopeless romantic like you said Georgia early on and you said it, homie, love conquers all. And you know, love, love, love, love, love, love. Or like that ain't right. And I sure don't want that to happen to me, you know, I don't care how beautiful and the lighting and how everybody's well dressed and smells. This isn't right. And people. People did get hurt, you know, you. No, don't make. No, I love. That's why the pre code was so good.
People got hurt. And it was realistic how people got hurt. Other people outside this relationship got hurt. So. Yeah, that's all I got to say. Be. Be. We all know society, Georgia, you said it so perfectly. Shame and guilt, all the other. What they call those.
[00:42:39] Speaker C: The moral regulators.
[00:42:40] Speaker B: Moral regulators. Or when you bolt the bowling alley, the bumpers or something. They. Yes, and shame and guilt is good.
You needed something, you know, in context. You need it in this and. And in this context.
Oh, my gosh. But yeah, kudos to the whole production, everybody involved. It really was a beautiful movie. I. I love it.
[00:43:03] Speaker C: Oh, I'm so glad you did, Moya.
Well, we have a different take on Love for our next movie. It's a valentine to you, all of our viewers, and I hope you like it. It's a more modern movie and it's called Love, actually.
[00:43:21] Speaker B: And it's.
[00:43:22] Speaker C: We're going to do that on February 15th.
[00:43:25] Speaker B: That's correct. And so we can't wait. I'll just pull it up real quick for those of you who may not be familiar. And I.
Girl, I look at so many movies. I think I saw this movie. Have you seen it?
[00:43:41] Speaker C: Yes, I have.
[00:43:42] Speaker B: Okay. And I think I've seen this movie because I haven't seen a lot of like, Hugh Grant and all these different people in there. I think I've. I think I've seen it. But don't quote me, but I am more than happy to look at it again. So you might have this one on me, Georgia, that I haven't seen it and you have. But yes, guys, it's all like you said. I love how you say that. Georgia, it's our love letter to you, our Valentine's to you, because we do really love what we do and we do it for you.
[00:44:14] Speaker C: A more modern spin on romance in the month of February.
[00:44:19] Speaker B: Yes. Yes. Well, guys, that is it. We will see you on the 15th. We hope you have a wonderful Valentine's Day and whatever kind of goodies you're expecting and all that kind of good stuff. I hope you get it. If you don't, it's not the end of the world. It is not. And so. And come and spend the Valentine's Day, your aftermath. Come with the. Come with us and we'll help distract you for a moment. That's the least we can do.
[00:44:47] Speaker C: So, yes, you've seen one side. We had romantic tragedy. Now we're gonna do a romantic comedy.
[00:44:53] Speaker B: Yeah, he'll pick you up. He'll pick you up. So love. Actually, guys, on the 15th. We'll see you in a few. So for how Betty Davis saved my life, Life lessons from classic Hollywood, I'm Moya.
[00:45:04] Speaker C: And I'm Georgia.
[00:45:05] Speaker B: And we look forward to seeing you guys next time live right here, 1pm Central Standard Time. See you soon. Bye.
