Episode Transcript
[00:00:00] Speaker A: Hello, everyone, and welcome to another fantasmagorical episode of how Bette Davis saved my life. Life lessons from classic Hollywood. I'm Moya.
[00:00:11] Speaker B: And I'm Georgia.
[00:00:13] Speaker A: And we are so happy you're here with us today. And I just want to explain. So Georgia's having some technical difficulty with her camera. And so, I don't know. Georgia, can you change your avatar? Cause I'm not trying to shine on her. And you're like, well, why Moy always changed her avatar. I don't know if Georgia has tried to change her avatar. Have you tried to change, can you even change it? Not recently, I haven't tried, so I changed mine. I try to change it for the theme of the show, but nevertheless, poor Georgia, her computer has turned on her like the machine, you know, the rise of the machine. So they turn on all of us eventually. And so she's just one of the latest victims, and they heard her friend tried to do their due diligence and blah, blah, blah. So, anyway, that's why, you know, her thing kind of stays the same. And then, you know, I changed my. But I'm not trying to upstage her or anything like that. I know no one in our audience is as petty and as catty as Miss Joan Crawford would be with Miss Bette Davis. We don't have that kind of friction over here. So Georgia. And I know if I could see Georgia's face, she'd be like, oh, my gosh. What am I talking about?
Georgia, let's get right to it. Cause, look, guys, we gonna attempt to do the hat trick, you know? I know it's. Is the FIFA World cup over? I'm sorry, I don't. I like soccer. I just don't follow it. I usually wait till, like, the last game, the championship. Georgia, do you follow soccer?
[00:01:47] Speaker B: Not that much. No.
[00:01:48] Speaker A: Okay. Yeah, I appreciate that athleticism, but I'm not, you know, I don't follow like that. I'm waiting for the Olympics. Georgia, do you watch the Olympics?
[00:01:57] Speaker B: I do. I love the Olympics.
[00:01:59] Speaker A: I know. So we, my husband and I, we are average track and field fans. So track and field, swimming, and, of course, the gymnastics portion. So we'll look at all the track and swimming, like, all the way through, and we'll wait till, like, almost the last part of the gymnastics and see. But, yeah, I cannot wait. So what a wonderful segue into this patriotic theme that we got going on today. Georgia, my love, what is our movie for today?
[00:02:31] Speaker B: Yankee Doodle Dandy.
[00:02:33] Speaker A: Danky. Doodle dandy. Right.
All right. What do you have for us today?
[00:02:42] Speaker B: Well, this, I think I have such great memories of it because I remember watching it with my grandmother. And this is a tradition for a lot of families. They watch this movie on, on the 4 July to get themselves and the spirit of it. And, you know, I think this is probably the first musical I ever truly loved. You know, and up until recently, I haven't really been that much of a musical person. But, I mean, you just can't help but love, love, love this performance.
Jimmy Cagney is absolutely magnificent in this role. And many of you may know this, but his only Academy Award was for best actor from his portrayal as George M. Cohan in this movie. So, yes, it was his Oscar winning performance. And of all the movies he ever made, this was not only his favorite movie, but this was his favorite performance. And you are in for the most amazing tour de force treat ever.
[00:03:49] Speaker A: Shame on the Academy. Well, you know, it's been an over glorified paperweight in my book for a minute, especially of the fact that Bab Stanwyck never won a competitive one. Talking about Barbara Stanwyck.
So you know, how, and, you know, he's done cagnit had done so many movies, girl. How long was his career? Was it 40, 50 years?
[00:04:18] Speaker B: Yeah, it's been decades.
[00:04:20] Speaker A: Yeah. And only had this one, at least he won. But white heat, I mean, if he may not have, may not, could have won for white Heat because I think the Academy never want to award anybody in those days for playing a gangster, but he certainly should have been nominated. So he wasn't nominated for White Heat.
[00:04:41] Speaker B: No. Amazingly, he was not. And he did such a brilliant job on why he, you know, he did the public enemy.
[00:04:50] Speaker A: Yeah.
[00:04:51] Speaker B: Dirty faces.
[00:04:52] Speaker A: Yes, yes, yes. And like I said, it was the academy. They were not going to reward you for playing a gangster. And that's so crazy because, I mean, people love the gangster movies.
They, I mean, and, but, you know, what's so amazing about his career and, well, and I'll let Georgia get into the movie. He managed not to get typecast because he played gangster so well. Why do you think he never got typecast?
[00:05:22] Speaker B: I think it may have been because of his versatility and his talent. And I think also, you know, he did, he did something just like Bette Davis did. He said no to the studio when he was earning so much box office for them. And they wouldn't let him choose his roles or, like, compensate him and give him raises just like Bette Davis did. So he broke away from the studio, and he started his own production company, and I think that's one of the reasons why that happened. But, you know, getting back a little bit to, you know, how the Academy Awards are, the Oscars, you know, have a grand tradition of giving awards to people who do a role, and they go against type. So when you watch this movie, you'll see how he easily switches from those comic scenes to the more emotional moments, which makes his acting truly impressive in this movie. He can switch like that. And it's just really phenomenal how he does it as an actor. Amazing, you know, because he started out in the thirties and he acted way well into the 1980s. So, yeah, it's about, like, over 50 plus years in his career. And just like George M. Cohan, he retired and then he'd come back again. So there's a lot of parallels between the two men. But, you know, Jimmy Cagney, you know, is not like your typical leading man looking guy. I mean, he was five foot six, and when he made this movie, he was 42 years old. But my gosh, I mean, what an in shape guy. He was so lithe, and he did not look 42.
[00:06:59] Speaker A: I thought I. Oh, my gosh, I did not think he was in his forties.
[00:07:03] Speaker B: Yeah, he looks younger than that. He really does. Oh, yes. And here's a picture of his very own sister.
[00:07:10] Speaker A: Now, are they, aren't they twins or. That's not true.
[00:07:13] Speaker B: Um, I don't know.
But, you know, he's a twin.
[00:07:19] Speaker A: Let me see.
[00:07:20] Speaker B: Um, I don't know if they were twins.
[00:07:22] Speaker A: Yeah, go ahead and talk and I'll see if. Look up Gene Cagney.
I. She was. Before you finish talking, she was just a little trivia. She was in.
Let me see. Jean Cagney, James Cagney.
I only saw her in this other movie, a film noir with Mickey Rourke. Mickey Rourke, Mickey Rooney. That would have been something. Mickey Rooney.
And I cannot remember what it was. It was film. No one. He was obviously older, and so I had, that's the only movie I had ever seen her in before. And I had heard before that I knew that was his sister, but I didn't know that that was if they were twins. But go ahead.
[00:08:07] Speaker B: Yeah. His sister is actually such a great actor. It's surprising how good she is in this. And to think, his very own sister. There's a picture of them where they're together in a scene and you see their heads together where they're sitting really close. And I was really looking for the family resemblance.
[00:08:25] Speaker A: They look alike.
You don't think they look alike.
[00:08:31] Speaker B: No, I don't think that they look quite that much alike. But you know who else was involved in all this? His brother William was the associate producer for this movie.
[00:08:39] Speaker A: Mm hmm. Okay. Yeah, I'm just saying that. Quicksand. That's it. In 1950, she played the femme fatale. Quicksand. They don't say that.
That they're twins. Okay, so I don't think that's true. Go ahead.
[00:08:56] Speaker B: Well, you know, one of the interesting things about this movie was that at the time, you know, Jimmy Cagney was against labor unions, and the real George M. Cohan was. And so for some reason I'm not really clear on, they wanted to lump him in with a bunch of people at the time who might have had communist leanings, which was not really the case with him. And so he decided that he was, when he heard about this movie being planned about George M. Cohan and all of the great patriotic songs in it, he said, I'd like to play it now. You know, the thing was, George M. Cohan actually preferred, and the producers there at Warner Brothers really did prefer Fred Astaire, but Fred Astaire turned it down. He said, no, that is not my dancing style. I do not dance like that.
[00:09:51] Speaker A: He wasn't a hoofer.
[00:09:53] Speaker B: Yeah, he was not a hoofer. So Jimmy Cagney says, I want this role. And so after a while, Cohan was convinced, you know, this guy could do it, and I'm 100% behind him. So the studio got behind him, and Cohan got behind him. What you see here is, like, you can't imagine anybody else in this role. It was just so spot on, perfect.
[00:10:18] Speaker A: As they say. He killed it, we saw in a trailer. So I froze it right there. Cause Eddie Foy Junior, I had heard of this person before, but I don't know, like, he was big, I guess, in his day. Was he like a vaudeville person? I'm trying to see. I should have looked it up before, but I forgot to.
Was he like a vaudeville person? Do you know who he is?
[00:10:37] Speaker B: I'm pretty sure he was, because I remember seeing a movie about the seven little foys, and it was starting.
[00:10:42] Speaker A: Where do I know that from? I guess here it is. Yeah. Seven little 1955.
[00:10:47] Speaker B: There you go. Yeah. So they were a vaudeville family, you know, just like George M. Cohan's family, the four Cohans.
[00:10:54] Speaker A: Okay. And for those people who don't know what vaudeville is, now, I know our audience does, but can you tell us what is vaudeville? Or. I'll jump in if you need me to. But what is vaudeville? What was vaudeville?
[00:11:08] Speaker B: Well, during the early 19 hundreds, I'd say from the 19 hundreds to 1920s, that was the height of vaudeville. And you had performers who did a variety of acts and they would travel all over, all over the United States and they would perform. And that's how so many of the performers that are so famous to us, they got their start. You know, not only Jamie Cagney, was he in vaudeville as a hoofer, but, you know, Bob hope that I mentioned previously, he was. And a lot of people did. They got their start in vaudeville. George Burns, Gracie Allen. I mean, I'm just barely touching the tip of the iceberg, but there were so, so many performers that started out in vaudeville and did acts of, and really honed their showmanship and professionalism by traveling. And you had to be really good because, you know, you get, you know how you get this idea. People will launch rotten tomatoes at you if you're not any good, or they'll pull the curtain. They'll take a big old shepherd's crook or hook and pull you off.
[00:12:17] Speaker A: We still said at the, given the vaudeville hook, so that big old shepherd's staff. Right?
[00:12:23] Speaker B: Yes. And those audiences were pretty unforgiving. So if you were lousy, even if you had a dog and pony act or whatever, you did right, you were.
[00:12:33] Speaker A: Going to get it, baby.
And don't forget, our boys. Our boys came from vaudeville.
[00:12:41] Speaker B: That's right.
[00:12:41] Speaker A: It was a tough life, the Three Stooges. Now, I was saying the Three Stooges, not the Three Stooges. They were in a different iteration, but they got their start in vaudeville.
[00:12:54] Speaker B: They sure did.
[00:12:55] Speaker A: Milton Berle, I think all the greats.
[00:12:58] Speaker B: Yes. Oh, yes. So hopefully that gives you a little bit of an idea about vaudeville. But, you know, as a hardscrabble life comes from Annie. But the reason for that is because, you know, they had to travel from place to place, live out of their suitcases.
It was difficult for them to get gigs. And so they were living a hand to mouth existence. And so you had to be pretty tough to survive the vaudeville circuit, right.
[00:13:25] Speaker A: Well, this movie, like Georgia said, it pretty much is what it is. It's a period piece. You can see from the hair and such. I mean, it's just about George M. Cohen's life. Cohan and shout out to Norman, if he was here, could probably tell us a little bit about the costumes. Did you think anything about the, the, on stage? It was very patriotic. And shout out, we're a couple of days from the fourth. So happy belated fourth to everyone.
And I don't remember playing in this movie around the fourth. Georgia does. So if she said, that's what happened, that's what happened. I don't know. But we put, you know, we plan these out months in advance. We. Georgia, you have to be right. We have to have say here, let's do this for the four. That has to make sense. I don't know, but we would try. Most of the time we try to get musicals. Cause we know, try to just run. Like I said, we try to have variety in the show. But anyway, so what did you think about the costumes? Were they over the top? Were they corny? Were they perfect for the productions.
[00:14:32] Speaker B: You know?
Yeah, they were. I thought they were really over the top, and I loved it.
They were, you know, because literally some of those women were wrapped in the flag and flying the flag. And look at that.
[00:14:48] Speaker A: United States. USA. USA.
[00:14:52] Speaker B: Exactly. Have you ever seen so many people crammed on a stage or as many flags on a stage? I never have.
[00:14:59] Speaker A: Yeah, that's wild. I wonder what they like. We did grease a couple of a week or so ago. That time is flying, man.
And, you know, there's been Broadway productions and off Broadway production. Do you know, have they done Yankee Doodle? They have had to have had some yankee doodle dandy. What do they call that? Revivals. Did you run across that in any of your research?
[00:15:25] Speaker B: Yeah, they had something kind of similar to that where Joel Gray.
Yeah, he did something that were kind of pretty similar. I don't know if they named it the exact same thing. I don't think they called it Yankee Doodle Dandy, but he played George M. Cohan in some kind of a musical review.
So, yeah, there has been something that's been done. It's been more updated. Yes.
[00:15:48] Speaker A: Okay.
That's cool. So look at this child. They went all out. There it is. Look, if you are extremely patriotic and love all things american, the celebration of America, whether you think it's propagandist, I mean, let me ask you this. Did you think this was propagandist, or did you just think this was just a movie about George M. Cohan and his. These incredible songs that he wrote? What did you think?
[00:16:18] Speaker B: I didn't see it that way because I saw it was, as much as it was a musical, I thought it was even more of a biopic. It was a biography about his life. And so these were the songs that he wrote.
And the significance of this movie also is up to this point, for Warner's brothers, this was their highest grossing movie that they'd ever done.
[00:16:40] Speaker A: I was going to ask you about the box office. Okay.
[00:16:42] Speaker B: It was great. It was only eclipsed later that same year, they did Casablanca. And so Casablanca, I think, eclipsed it. So it was the second highest grossing movie for that entire year. The second highest.
[00:16:56] Speaker A: And go check out all Casablanca podcasts. We did do that. So go check that out.
[00:17:03] Speaker B: There was a real reason for this movie being made, because when they started filming, coincidentally, you know, Pearl harbor occurred on December 7, 1941. They started filming on December 8, the very next day. And so all of them, when they gathered, they said, we're going to make this the most morale boosting, patriotic movie we can possibly do. And so this movie, and many movies have such a fantastic function in that they build morale and they help build up people's spirits and they help galvanize people, because at this point, early on in the war, while this was being made and before it was released, America wasn't doing that well in the war. Japan and Germany were just really pounding everybody. They were pounding all the allies. Those Axis powers were just really gaining a lot of momentum, and there were a lot of losses on our side.
They had such faith when they made this movie. They didn't know how the war was going to end. They did not know. And so these were people who just went out on faith and belief in their country, and they just. And this was the result of that. They were just trying to remind everybody, okay, everybody, we're the country, that when we put our mind to something, we can be exemplary and extraordinary and exceptional, we can be that. And they're trying to remind everybody, this is who we are. Don't forget who we are.
[00:18:40] Speaker A: Right.
[00:18:40] Speaker B: And we are a force for good in the world. And so that's the message that you get in this. Some people, yes, will consider it propaganda. Me, I think that there's so much focus on the life story of George M. Cohan that it balances it out. But you have to remember every movie, you have to remember, you have to look at it through the lens of the time that it was made.
You have to look it through the lens. And so there, I also have to say, there is a very short scene where there is blackface being done. But when I look at that, and I want everybody to remember, it tells us where we've been and how far we've come.
[00:19:20] Speaker A: Right? Absolutely. And don't let that stop you from looking at this.
Cagney's performance in a production, especially if you're a James Cagney fan. I am a James Cagney fanatic.
He can even his kind of, towards the end of his career a little bit. Not that it was, you know, going into, like, the fifties, like, you know, he still was a star and all that, but, you know, he wasn't as he was in the thirties and forties, obviously. So even a mediocre movie by him. He has such magnetism that, like, impacting it. Cause, like I say, he wasn't. He was not. He's not a very good looking man. He's not an ugly man, but, you know, he's not a Clark gable type dude or something like that. But you cannot take your eyes off of Cagney, even if he's quiet, if he's not saying anything in the scene. And we just don't have that type of. Well, Hollywood is totally different now.
Good, bad, and ugly, but we just don't have those type of leading men anymore. And like I said, he was an atypical, on screen, on paper, leading man. So, yeah, don't let any of that stuff stop you from looking at this.
Just love letter to America that happens to be about George M. Cohan and these songs that we still sing today that won't die. And I do appreciate Cohan and the studio for putting this together.
Georgia, is there anything else? I thought I had some more stuff, but, you know, just let me know. Is there anything else?
Okay, so, Hoofer, before Georgia gets into that, that means somebody like Georgia was saying, you're not an elegant dancer like Fred Astaire, lil and light. Hoofer is just another name for a tap dancer. Very aggressive and just full of high energy and impact and just a lot of footwork. Not a lot of. A lot of. And also a lot of big motions, hand motions and stuff. So that's what they call hoofing. And even if you see Fred Astaire, quote unquote, gene Kelly, quote unquote tap dancing, it's still classical and ballet, like Wesa hoofer. That's like street versus Fifth Avenue penthouse or something like that. Dancing, you know, juilliard versus breakdancing. So both are in themselves, but it's just different. So, Georgia, go ahead. I'm gonna load up another video. I want to just show a little of that great footwork Cagney had. This is one of my favorite scenes, and I don't know how many takes they had for this, but it was kind of dangerous to me. I don't know, so go ahead, Georgia.
I'll set up the clip if you have anything else to say.
[00:22:10] Speaker B: Yeah. Cagney was a boxer when he was young, and in order to survive his tough neighborhood, so when he tap danced, his timing was perfect due to his experience in jabbing and fancy footwork.
[00:22:24] Speaker A: I can see that.
[00:22:25] Speaker B: Okay, so, okay, one of the things that you want to know about him is he. There's. There's like this scene right here. Okay? This is the most fantastic achievement of dancing down a long staircase. He did it in just one take. The camera never stops all the way through. He never once looks down at his feet or at the steps. He never does. That, to me, is the most incredibly difficult and amazing thing that he does right there. I cannot believe I trip out every time I see it. I go, how can he do it? And it was a surprise. It was never rehearsed. Never rehearsed. When he does that, how amazing is that?
[00:23:11] Speaker A: Right?
[00:23:12] Speaker B: There are some other things that he does in this movie where he. Okay, this was not the dancing that you see him do, where he imitates George M. Cohan. He's acting while he's dancing. And I'll explain why he's acting when he's dancing. This is not his actual dance style. He had to learn. He had to coach him, teach him how to dance like George M. Cohan. It was a very stiff legged kind of a dancing style. Okay. And he looks like a marionette on a string, and the front part of his body is bent over and it's not doing as much.
[00:23:45] Speaker A: Right? Right.
[00:23:46] Speaker B: So while he was trying to learn this, he sprained his ankle twice while he was trying to do it. But he does it so perfectly. And I watched another video of George M. Cohan in another movie. I can't remember the name of it, but I. You can find it online. You can see him dance and he does it perfectly. And the thing is, this is a very difficult style of dancing. And he does it so magnificently. In fact, in one scene, you're going to see him where he actually dances up the walls. I repeat, he dances up the walls. Watch him. When he does this pirouette, it is absolute, absolute beyond perfection. And then some. The man was absolutely amazingly talented as a dancer and yes, as a hoofer. Not an elegant style, because it's like a little bit. Doesn't have the same elegance. It's a little bit more of a stomping. But the thing is, what the men does is so acrobatic and agile, it will blow you away. And even if you're not really into that much of the storyline, if you just watch for the dance sequences.
[00:25:05] Speaker A: Perfect. And so there's, like Georgia said, that stomping and aggressive. Look at those. I don't know what you call them. Triplets.
[00:25:12] Speaker B: Pirouettes.
[00:25:12] Speaker A: Pirouettes.
He did the Michael Jackson on this, too.
[00:25:17] Speaker B: Did the Michael Jackson.
[00:25:18] Speaker A: So he got until Bob Fossett was watching.
Cause Bob Fossett did. After cagnat. The next person I saw today was Bob Fossett. So look at that. So look, a pair of wets and those triplets. So now he's doing a shindig. A jig.
[00:25:33] Speaker B: Irish jig.
[00:25:35] Speaker A: That's ballet.
[00:25:38] Speaker B: Yes.
[00:25:40] Speaker A: And like I, like you said, the upper body is just not much movement. Like I said, you can definitely see that marionette type thing.
Look at him, girl. And the poor man sprang his ankles, girl.
[00:25:55] Speaker B: Yes, twice.
[00:25:56] Speaker A: Oh, my gosh. He deserved. He earned that oscar.
[00:25:59] Speaker B: Wow.
[00:26:00] Speaker A: That's why they gave it to him. Cause he sprang and his ankles.
Oh, wow. Just like I said. I have forgotten. I was telling George I'd forgotten. I saw him dance before in the thirties with 42nd street and some other movies with John Blondell and, you know, that period. And so I was like, oh, I've never seen him dance before. I've never seen him dance before. But then I said, oh, they have seen him. But this was like. I totally agree. This was his best dance performance. So I don't know if Georgia has anything else to say, but I wanted to just show him and George Raft dancing. So I'm a George raft. That's my other man.
And he started out as a dancer. And I had only. I had just maybe in the last few years had seen him dance that man. He was doing a tango with Carol Lombard. It was like in the thirties, like early pre code. And, girl, that man was snake hips raft.
[00:27:02] Speaker B: Oh, yeah.
[00:27:04] Speaker A: Feather feet raft. So let me just show you. I'm gonna cue this up in Georgia, if you have anything to say whilst I'm finding this. Him and George Raff in this movie taxi. In the early thirties, having a dance off, if you will, with this is Loretta young and somebody else. I don't know.
I'll do a little.
So let me just. Yeah, so there's Cagney.
So he has to be in his thirties right here. So look at him doing a little Fred and ginger type action and shout out to this queen of night for showing this.
Okay, so here comes raft, just in case we get copyrighted or something. So look at Loretta. Loretta Young. Girl getting her box trot on.
Can you imagine the hours of practice? And practice. Cause if you're not a natural dancer girl, that is not easy. And like Ginger Roger said, she had to do everything George. I mean, Esther did, but backwards.
[00:28:24] Speaker B: Whoa, look at that footwork.
[00:28:25] Speaker A: You see it? Huh?
[00:28:27] Speaker B: Whoa.
[00:28:27] Speaker A: So here's George Rapp and his partner.
So they. So Loretta Young and Cagney, they kind of hoofing. Let's see what we, the judges, are.
[00:28:38] Speaker B: Unable to decide the winners of this contest. Now, we'd be pleased to have the public pick the winning couple by popular applause. Now, please do not stamp or whistle. Thank you.
[00:28:55] Speaker A: Let's see.
[00:28:58] Speaker B: Watch that mug's pan when I hand us that cup.
[00:29:14] Speaker A: Girl. That is so funny.
Hilarious.
But, yeah. So I was shocked when I first saw. Cause I don't think he was quite a big star yet. I think Lombard was the bigger star. Whatever movie that's on is on YouTube somewhere.
When they were tangoing. And, honey, he had it. He had it. So go look that up. Well, Georgia, I don't have anything else to say. I probably left something out, but I don't remember what I left out. But I'll let you, of course, have the final word, ma'am.
[00:29:46] Speaker B: Oh, my goodness. I still have some things that I just like.
Well, you know, when I used to think of James Cagney, I would think of him with either a Tommy gun or him uttering, mmm, you dirty rat.
Or him, like, with that half of a grapefruit, pressing it into that woman's face.
[00:30:08] Speaker A: Right.
[00:30:09] Speaker B: And so I think that is why, if you've only ever seen him in his gangster movies, this comes as such a revelation, because he gives a performance with such intensity and presence. I mean, he. What? He means every line he says, and he looks people right in the eye. He doesn't act, he just expresses. And so this is, I think, comes as a real revelation to people who've only seen him in his gangster movies.
[00:30:41] Speaker A: Yeah.
[00:30:42] Speaker B: And, yeah, I think he gives a. This. The performance of his life. And I really love the way that there's such power and influence that entertainment can have and how important it becomes to be during times of war and hardship like it was in this movie. And I.
I have to say also that, you know, to me, there's some things that I got out of this movie, some real takeaways, because I felt that, like, whatever gifts I. Or talents you have, used them, give them, share them.
That's how I felt the Jim Cohan was. And also, I think that's also just as true for Jimmy Cagney.
And also, I think it's important to like, to me, I looked at this movie, and I thought, you know, you work hard, you stay close to your family, and especially during the hard times. And if you're confident in your abilities and you have the chance to succeed, then you, in this great country of ours, then you got. Then that's the american dream. That's what you do. And I think that's what this movie was about, also was the american dream.
And in this movie, we celebrate the american way of life and how fortunate we are.
[00:32:05] Speaker A: Yeah, yeah. No other place on earth like it. That's why so many people are trying to get here.
And I'm a stop right there.
But, yeah. So I was just kind of rushing through, and you're starting to trail all the different stars and actually actual real stars of stage and Irene Manning and all these different people, dancers. Dancers and stuff like that. Georgia, I'm done.
So, anything else you want to leave us with? You are such a wealth of knowledge. And so I tell you, we don't prepare. We don't talk to each other during the week about what we're doing unless we have to.
So we come in cold. We might discuss something a little bit before, but we come in cold with you guys so our podcast can be freshen. We want freshness for you.
And so, Georgia, you had already read my mind, so thank you so much for all that wealth of knowledge about this film.
[00:33:08] Speaker B: Yeah. And, you know, I read so many times where people commented and said, you know, I don't like musicals, but this musical I really love, because I love the movie. I love the acting, the way it makes me feel so good, and the message. And so I highly recommend it for those reasons.
[00:33:25] Speaker A: All right, well, that is the mic drop moment, guys. Thank you so much. Go ahead and check out Yankee Doodle Dandy, starring none other than Mister James Cagney himself.
He's, I'm not gonna say a rarity outside of a gangster film. Cause they did a lot of movies that were non gangster. The man was so versatile. He just was a powerhouse and a very smart man. We didn't get into that outside of film. Really good businessman, too. So he was a unicorn in Hollywood, to just be honest with you. But, yeah, go and check it out. It's streaming on several platforms. And let us know what you think, you know, to catch us on YouTube.
It'll be up. It'll be uploaded to YouTube. And don't forget to, like subscribe, share and comment on on our love letter to you every week. So for how better Davis saved my life. Life lessons from classic Hollywood. I'm Moya.
[00:34:24] Speaker B: And I'm Georgia.
[00:34:25] Speaker A: And Georgia, before we forget, our next movie is what?
[00:34:29] Speaker B: Citizen Kane.
[00:34:31] Speaker A: Citizen Kane. Now, Georgia, you already said you think it's gonna be a make me like it. Didn't you say that?
[00:34:36] Speaker B: Yes.
[00:34:40] Speaker A: Well, we'll see. And I haven't seen it in like forever, so I'll see because I loved it. We'll see if it's aged well for just us. For me. And you haven't seen it, right?
[00:34:51] Speaker B: I did see it years ago, but I thought, what is all the hoopla about? It just didn't register with me like it does with everybody else. Maybe I should just rewatch it again and see if I change my mind.
[00:35:04] Speaker A: Okay, guys, so that's a challenge. We? Are we gonna be challenged? I have to see if it still holds up. And then Georgia has to see if she even like. Okay, what's the big deal? What's the hubbub, bub? Well, you guys take care. We cannot wait to see you again on the. Let me get the date on the 20th, a week from now. I'm sorry, two weeks from now for Citizen Kane. So again, I am Moya. And you are, ma'am.
[00:35:34] Speaker B: I'm Georgia.
[00:35:35] Speaker A: You guys have a great time. We can't wait to see you again. Take care, and we will see you on the 20th for Citizen Kanek. We love being with you, and we can't wait to see you next time. Bye.
