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Lollipop factories giimme’ worser falshblacks than a coastal Frenchman with ankle to hips hives.

yes it was nice to hear @JulyDiaz one of the greatest thread posters of all time on there but the fans demand the return of andy kneis @kneisage

All the new characters on the pro version were great fun. They're the cinnamon bun and swedish fish etc flavored oreo to Intern Andy's Double Stuf tho, daddy wants the classic

GITURRDUNNN

I would actually argue that this is a strength of the movie. As colorful and joyous as the musical numbers are, there's also a sardonic edge to it, in depicting some aspects of the "classic" era of movies (for the time this was made) as not so great. Demonstrating that people could be just as selfish and backbiting as ever.

That's a really good question. I currently have it at number one on my list, but that's mostly just from (as Paul said) the happiness I get from the movie. Many of the movies on the AFI list are heavy dramas and it's nice to see one that is just light and fun. I agree that "Make 'Em Laugh" is the most impressive number, but "Singin' in the Rain" is straight up iconic. The twinkle in his eye as he splashes through the street like a child makes *me* want to dance. As far as being better than Swing Time, while both movies are on the lighthearted side, this one has the stronger narrative. Swing Time is just about a guy trying to avoid marriage, Singin' in the Rain just has so much more going on. I also think the comedy lands better in SitR.

I, for one, encourage differing opinions. As long as it's being done respectfully (which I feel like everyone here has always done), it allows people to get into really talking about the movie, song, television show, etc. If we're all just going to sit here and heap praise (or shit on) a movie, then it's not really a discussion - it's stagnation. I don't think a person can really get to the bottom of why something is good or bad until they are asked to defend their opinion. I know some people don't like that kind of push (I've seen people leave the boards just for being asked to defend their position), but in a healthy atmosphere - which I think we all try to foster here - I see absolutely nothing wrong with it.

I'm fine hearing dissenting opinions. I get a bit of your criticism. This really is just a jukebox musical which has a negative connotation today but I think most people don't know the songs outside of this movie. So, people literally don't know this is old music even in the 1950s. I don't know people are necessarily wowed by color in the film unless I'm listening your post. The colors look great but I don't think 1952 audiences were shocked like Wizard of Oz. Maybe I'm wrong about that. I'd say it's similar to watching something like In The Mood For Love. I love the color in that film but I'm not wowed color exists in a movie. You're right about this being kind of not a joyful plot. They are ruining her career because of her voice. I mean she's a jerk so maybe that kind of justifies it? Not really but this is the ultimate turn your brain off and just enjoy it movie.

I couldn't agree more. To me, it feels like it goes on for so long that you've just watched an entirely new movie, which you pretty much do, but it's not like the tl'dr version it's the actual movie. It also kinda bugs me that it suddenly becomes modern 1950s looking. To me, that would be like if The Nice Guys, set in 1970s LA, suddenly had a 2017 dream sequence, which would completely kill the vibe for me. I absolutely LOVE it on it's own merit, because it's a gorgeous sequence and displays so many amazing things at once, but I'm not entirely convinced it belongs in this specific movie. That being said, I have no idea what they could've done any differently.

Alt-right comedy is even worse. The yelling and the spittle and stuff, it's just not that good.

I kindly request that Chef Kevin not throw fits on mic and get himself scolded because honestly it was triggering and made me feel like a bad boy when Erin Gibson scream "KEVIN!" at him

Oh yeah I forgot he did say that too didn't he?

Neither did I! I was shocked by that. Personally, I thought all the songs fit perfectly - except for the Melody. ;)

Well then let's go the other way. What makes this 5 star perfection? What differentiates this from Swing Time? (Besides, the black face scene haha.) Everyone seems to be like, well some scenes are long or unrelated, or it doesn't hold up to thinking about it, or Debbie Reynolds isn't quite good enough, or whatever. But then, at the same time, it's 5 star ratings all around and Paul, for example, concludes it should be even higher than number 5. What connection am I missing?

I'm about 20 minutes from the end of the episode, so I apologize if this gets brought up, but I wanted to get it off my chest. Did anyone else kind of feel bad for Lamont? I mean, by the end she's definitely the villain, but up until then I felt the movie was pretty unsympathetic to her character. It's not her fault that her skill set didn't lend itself to "talkies." Her career is going down the tubes and everyone just makes fun of her for being delusion, untalented, and dumb. One part that really got me was when Zelda rats out Don and the gang to Lamont and Don says something sarcastically like, "You're a real pal, Zelda...." Um, hey asshole, she is! To Lamont! While you were busy trying to undermine Lamont's career, she was telling her friend what you're up to. Zelda = Good Friend.

Whenever I think of that scene, I think of a conversation I had with a Theater Major friend of mine back in college.* We were talking about Romeo & Juliet, and the magnificence of Mercutio, when the subject of the "Queen Mab" speech came up. We both loved that speech, but what my friend said she liked the most about it was that it was pretty much Shakespeare writing something "because he could." Yes, it helps establish Mercutio as Romeo's foil, but he could have just as eaisly said, "Hey, bud, dreams are dumb." Instead, you get this incredibly poetic monologue that's there...just because. For me, that's what the Broadway Melody is. It doesn't really tell us anything we don't already know. It's there because Gene Kelly "could." Paul also says that it doesn't make sense for the movie they are supposedly making and that it should have been Debbie Reynolds instead of Cyd Charrise. I mean, their idea for the Dancing Cavalier is pretty suspect, but the way I rationalized it is that in the modern part of the movie, Kelly's character is falling for the wrong woman so that he can be available for Lamont's character in the time-travelling sequence. Besides, it can't be Debbie because she's not even supposed to be working on the film *Incidentally, this was the same friend who introduced me to Singin’ in the Rain

He still had plenty of time to play Rain in Big Trouble in Little China the same year.

Lazenby was such a terrible bond that you could even say that James Coburn's spoof on the character as Derek Flint was a better Bond as Lazenby.

Totally agree! The Laz lacks Connery's charisma, Moore's smarmy charm, Dalton's steely determination, Brosno's hammy wit, or Craig's Craig-ness. Also, for a guy who bailed on the Bond franchise to get hippie wet, Lazenby sure did a lot of guest appearances in what were essentially "Bond cosplay" to remind audiences that he once (!) played the suave British secret agent. In the Master Ninja II episode of MST3K, for instance, Lazenby plays "Chip" Bond-like character, complete with tuxedo, gadgets and a vintage Aston-Martin DB-9 he stole from the set of Goldfinger.

Technically, these are just different classification categories. Something that is "secret" has more sensitive information in it than "classified," so you'd need a higher level of clearance for secret information. Someone can correct me, but off the cuff, I think the main classification systems are: Confidential; Secret; Top Secret; Code Word. As an aside, one thing that gets in my craw about a lot of fictitious portrayals of security clearances is that just because you have high-level security clearance, that doesn't mean you have access to anything under the sun. You only get access to what is absolutely required for your specific job duties. (That cliche "need to know" basis).

I suppose the 'confidential' files they're allowed to let people know about but just can't reveal what's in them and the 'secret' files.... well those, you're not allowed even to know they exist.

So I retroactively apologize that this isn't funny*, but sometimes you gotta get seruos. My life is absolutely riddled with synchronicites that especially seem to revolve around shows like CBB and HWHB where things that are said off the cuff are affected by some kind of retrocausality from my future that influences the shows or something. They end up talking about shit that is stuff that just happened in my life and then I'm like, wtf, are we living in a computer simulation?!? I will attempt to document them. SYNC 1: I saw this amazing looking mechanical pencil last week that someone had left on the supplies cabinet and I wanted it, but the supplies Nazi wanted to hold it at her desk in case the pencil-loser returned. I told her I'd come get it Friday and she meanly squinted, "MONDAY" and then clicked her heels together, extended her palm high, and put her finger over her lip like a little mustache. She just wanted to make me wait. On Monday (my 45th b-day) she wasn't even here so I grabbed it and high-tailed out of there. It's fan-farting-tastic, except that it's .9 which is a little big for my tastes* cause like sometimes it's sharp and sometimes it's too flat depending on the topography of the thing which keeps changing as you use it (also *.) Anyway, this bad boy is mine. And yes, those crappy yellow ones are the source of all complaints about leads going back in. Most other mechanical pencils have a one way butthole, but the yellow PaperMate Sharpwriters are freaking loose in the caboose if you get my meaning. Not that there's anything wrong with that, unless you're a pencil. * like my p****.

Your Mexican friend then turned to me, gave a sly lil' wink and said "Joe Mande the alternative comic, that is, who is making waves in the comedy podcasting world with his boisterous character work, celebrity impressions, and outrageous observations on things you and I see every day but take for granted. Don't worry, Joe Knows Things™ "Don't Worry, Joe Knows Things®©" coming soon to an audiobook discount warehouse or in the backseat of a Mercury Topaz near you, maybe on top of you, depends on where the night takes us. And how good this molly is, ammirite?"

To everyone wondering if it's weird listening to Joe Monday on a Tuesday episode. It is. But also very funny. This one* is definitely a MUST LISTEN. *And all episodes so far

I would love hearing them discuss the insane alternate ending: