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Watching this crazy movie, it's actually shot pretty well, but the editing is terrible, and the writing doesn't help either. I have to imagine the reason it's not available anywhere is the cost of licensing the music. In the first 30 minutes there are at least four major music cues. And I think there's a Letterman clip in there too.

Someone at work is playing the song Heaven on spotify and I'm dying right now.

I don't know if it's discussed, but Andy Garcia makes a very early appearance in the film playing a bartender! I couldn't recall ever seeing him in this movie because his part might have been reduced, but could anyone post a picture of him from this movie?

+1 on Mac & Cheese and also potato salad without any onions in it (just a personal texture thing). Salt Lick about half an hour South of Austin is some of the BEST I've ever had!

I really want barbecue now you guys. On the subject what's everyone's go to side's? I'm fully willing to murder for good macaroni and cheese.

Ok so this is the only story I have related to male strippers aka That Time Gigi's Mom Got Kicked Out Of Canadian Strip Club. So my mom grew up in Detroit. For those who don't know Detroit is literally just a bridge away from Windsor Canada where the drinking age is 19 instead of 21. I don't remember when this took place but I'm assuming it happened before my mom and her friends were 21(so the mid 80's) because why else would you go to Windsor? Somehow they ended up at a male strip club very drunk . This is where they encountered one of the ugliest male strippers known to man with what my mother described as " full meth face" and a mullet. He was also apparently cursed with a bit of a pancake ass . My mom's friend being very "kind" and also VERY inebriated took immense pity on this ugly stripper and felt it was her duty to give him a small smack on his ass (a VERY big no no) to help make him feel desired and appreciated. As any person would he did NOT take this as a compliment or a form of encouragement (because it's sexual harassment) and had them kicked out. And that's how I learned you never ever touch a dancer (you sure as fuck don't kiss them), consent is everything, and meth will fuck your face up and should also be avoided at all costs.

This this this. I know what we generally consider to be barbecue originated in the Carolinas (although I suggest watching the Ugly Delicious episode on barbecue to help kind of dispel this idea). But I do not like mustard based sauces or vinegar based sauces.

Had a look around and didn't see anyone else suggesting it, so I had to throw it up. This is the very first movie I remember seeing as a kid and just hating. Please rip it apart!

If you sync up Dark Side of the Moon with the movie White Chicks, nothing happens. It just makes White Chicks really hard to follow.

you only see side / back of his head; Slick talks to him

Genuine question that I think I know the answer to: There's never been a strip club set up like Heaven right? Where the only dancer at the time just roams around the floor on the same level as the patrons? I know some strip clubs have dancers work the floor while others are on a stage but this set up seems awfully dangerous for the performers.

Side note, I'm pretty sure what they had does constitute a love affair, which at the time would have been salacious; sex before marriage/etc. Hence the whole running around to motel rooms. When it's with a married person, I believe the full term is extra-marital affair. I think context and common usage just causes us to drop the extra-marital part often.

Jason barely lets anyone else talk in this ep

We get a clue about the relationship between Slick and Rick when the security guard watching Slick's car commercial mentions that "Tony" says she is his buddy's girlfriend. Cut to Tony the NASA janitor guy, who is none other than Deney Terrio, host of Dance Fever at the time. Sure, John G. Avildsen directed Rocky and The Karate Kid (which is pretty much a retelling of the Rocky story), but he was also responsible for sapping the momentum from John Belushi's last film, Neighbors...and Cry Uncle, which is a far more disturbing film than A Night In Heaven.

I'll point out, reading the criteria on the AFI ballot, is really is just expressed as general guidelines. They just listed them as, (paraphrasing) "these are criteria we weighed and considered when compiling our options for you." The terms, "best" or "great", for art is pretty broad and has many facets. I say that only because I feel like people have interpreted the criteria as hard and fast rules. One of the criteria was just simply, if it's received a lot of praise in print or some type of established film discussion media. Basically, the only thing they didn't seem to want was obscure personal favorites. Speaking of which - and Anthony Perkins roles after Psycho, and Orson Welles, I'll give a shout out to Orson Welles' adaptation of The Trial, which Perkins plays the lead role of Joseph K (which felt like excellent casting). That's a personal favorite, even if I feel they botched the ending. I'd suggest it as a pairing with Gilliam's Brazil for a dark comedy double-feature. I'll also point out, that 15th ranking doesn't mean the AFI all got together and collectively decided, this is the 15th greatest film of all time, but one you could interpret as, "we were able to agree that a lot of people agreed this film should be somewhere on the top 100 list (unless it turned out the top 15 are all decided by the tie-breaker votes )." So, that's one thing to consider when interpreting placement on the list (and cultural familiarity probably helps a lot with that). We just like to say 15th on the list translates to the 15th greatest movie of all time. I should stop pointing. Many a cartoon in my childhood told me it's rude. ETA: Though that take on the importance of cultural impact doesn't explain the BFI ranking (which after you filter out the non-US films, it's still pretty similar in position); because the BFI is people only submitting their top 10. I don't think people would include Psycho if they only have 10 spots purely on cultural familiarity. My only two thoughts at the moment are - I guess the position doesn't stick out to me, because outside of this podcast/forum, I usually don't filter out the non-US films in my mind, so it doesn't feel as high up to me. Other thought, critics really seem to love Hitchcock (evidenced by Vertigo now being at the top spot for critics, and not nearly as high up for directors) - or at least, very loved by a lot of them; which I still haven't connected to on the reason why, so I need to figure out Vertigo at 1 before I figure out Psycho at 34.

They were bringing it up in the context of, should a movie that's number that high on the list be one whose second half is... serviceable but not noteworthy, which I think goes beyond just saying it's not ingrained in the common culture. I'm busy this week so while I've listened to the episode I haven't really watched the movie and probably won't until later this weekend. That said, though I haven't read the book, I know I've heard one big change is, the book starts with Norman and the book mainly focuses on his perspective, I think (or at least his story - okay, it's been a while, and I'm a little vague in my details). The whole shift to start with the Janet Leigh character was something Hitchcock came up with in the adaptation. I suspect for some, losing the protagonist halfway through (which most people describe as a bold choice - and it was) probably left them without characters with a fleshed out/developed character to identify with. Just some speculation there (I haven't rewatched it completely for the episode yet, but I had it on in the background as I was cleaning, so some of my memory got refreshed).

welcome to kold kat klub (CCC) http://forum.earwolf.com/topic/26127-whats-down-cold-cat/ http://forum.earwolf.com/topic/27265-whats-down-cold-cat/ http://forum.earwolf.com/topic/39806-whats-down-coolcat/ http://forum.earwolf.com/topic/46705-whats-down-cold-cat/

I think you hit upon the fundamental question that arrives from ranking movies by anyone and that is enjoyment over art. If some is great art but not universally enjoyable, does that prevent it from being great? If some is universally enjoyable but poorly made, does that prevent it from being great? Does it have to do both to qualify? That's why there are so many criteria in the AFI list and the important one I think people forget is the cultural impact. That's the reason I think Psycho deserves a high place on the list. Even if we isolate it to the shower scene that is something that everybody knows. People who have never seen the movie know this scene. It is part of the cultural. On top of that it a movie made with excellent craft in every possible field. While personally I wouldn't say Psycho is my favourite Hitchcock movie there is denying the craft that went into this film and is probably his best made movie after Vertigo.

Yeah... but have y’all had Memphis style BBQ? That shit is Deeeee-licious.

They didn’t bring that up in the episode? Weird. I know I have to listen so I don’t have too much right to criticize, but just from what I’ve read, it feels like they missed quite a lot. Like, I guess they questioned why she took a shower after deciding to come clean and someone on Twitter had to explain that it was Marion literally washing away her sins. I mean, I don’t think Psycho is heavy-handed necessarily, but it’s not exactly that subtle. To assume she’s just taking a shower to take a shower is like assuming William Carlos Williams’ “This is Just to Say” is about plums or Moby Dick is a about a whale.

I'll jump in as the philistine on this one. I had somehow managed to go my whole life without seeing Psycho until this week. But of course because it is so much a part of the culture I knew all of the major beats. And for me personally this movie didn't hold up to the classic trope of "it's even better watching it once you know the twist". It might be unfair for me to judge it that way since I didn't experience the shock firsthand and then rewatch it. It was like my first watch was the rewatch. With the tension mostly removed I just wasn't very engaged. To avoid having more pitiable creatures like me created I think we'll have to have watching this movie added to the national elementary school curriculum.

I totally agree! I feel like this is even represented visually how each act ends with a shot of Norman and a shot of the swamp - each successive shot showing Norman's descent and his mother's ascension. It starts with Norman in decent lighting nervously chewing on candy corn as he watches Marion's car sink: The next is after he's disposed of Arbosgast. It's more sinister and cast mostly in shadows: And finally in the police station when "mother" has completely taken over: I'm sorry, I still haven't listened to the ep yet so I'm not sure how much they get into all of this, but what I think it is important to remember that Norman is the protagonist - not Lila, Sam, Arbogast or even Marion. The movie is about his struggle, and ultimate failure, to break free from his mother. So, I don't think anything is filler. It's all needed to watch that struggle.

I'll square this circle and say that I think the movie is structured in a way that makes you remember the "high points" (the shower scene and the reveal of Norman as the mother) and kind of forget most of the stuff in between. But that doesn't mean any of it is unnecessary or could be removed. You need the long, meticulous setup to make the "big bang" moments hit harder. I was thinking that this movie was structured like a symphony, with two major "movements" that crescendo and then recede (so maybe it's more like a half-symphony). In that way it's appropriate that the film opens with a credit sequence that flashes the words at us while the Herrmann score goes through all of its major themes. It's the overture. After the last big reveal there's another "cool-down" scene with the psychiatrist explaining Norman's condition (this part maybe does run a little too long), before going out on a final unsettling note with the close-up of Norman's face. Hitchcock talked about how this movie just works on the purity of its cinema, and I think that's right. Even when you already know the story, the whole thing is just so masterfully orchestrated, in the marriage of sound and visuals, that the scenes all work anyway.

This needs to be reviewed for Halloween Do it for Fool, he’d be super excited

"Lennon recorded five podcasts this week and has completely lost her mind" is the best possible backdrop for an episode.