John Ford

and pumping out kind of very similar products, and really kind of treating the films like products.

It's not until you get these auteur directors doing unique things and trying risque things, like John Ford with The Informer.

Those are the things that I'm enjoying seeing, but it's when the studios have a very tight grip on what's being produced, which I think is happening in the modern day as well.

That's why we're seeing...

think that's right.

I wonder if that's why I like Frank Gaffer so much.

I wonder if, you know, and you're right, there are like John Fords, like the Informer, the Mervyn LeRoy of like I Am Future from a Chain Gang.

So it's not even just like you can tell by director, but there are like specific names that I think when you hear it, you're like, oh, I'm more likely to like this one because of what they've done.

Yes, there was a time when simplistic white hat and black hat Westerns just littered the box office releases and the TV screens.

All the tropes, heroes standing tall in the face of overwhelming odds, frontier justice, all the directors, from John Ford to Bud Bodicher, and all the heroes, John Wayne, Clint Eastwood, maybe Charles Bronson, were made.

I'm not a film professor, but I'm familiar with the Western's journey.

All these heroic rides into the sunset stretched their popularity from the silent era to their peak in the mid-1940s and into the mid-1960s.

It is no longer a sacrilege to say that Richard III is not a great drama, although it is signed with the famous name of William Shakespeare.

It is, in fact, one of the most ragged of the many chronicle histories that were hastily thrown together in the Elizabethan period and is not at all comparable as a work of art with such more careful products as the Edward II of Christopher Marlowe or the Perkin Warbeck of John Ford.

Yet this piece has been kept alive in the theater for more than three centuries by the lucky fact that its central figure offers a very showy and comparatively easy part that many generations of aspiring actors are ambitious to portray.

Richard III, though not printed till 1597, was probably written not later than 1593.

You can guess what that's all about.

We're soon leaving for Ireland to do a film with John Ford.

Why don't you stay with us at RKO and do another picture? Well, okay, Mel.

I'd really like a chance to direct something for hard use like you've been doing.

Hello and welcome to Best Picture Brain Rot, a podcast where three friends count down to the 100th Oscars by watching every Best Picture winner in order.

Follow along as we give ourselves cinematic brain damage from the first winner, Wings, to whatever the Academy picks in 2028.

There are 76 weeks until the 100th Oscars, and today we are going to talk about the greatest show on earth.

from grand hotel is in the parade adolfo adolfo's

riding the adolphus is riding the horses yes he's riding the horses for sure

do our little gay friends from wings do an aerial maneuver above

yes yes

they're part of the show for sure

We are covering the Lost Patrol.

from 1934, directed by John Ford and starring Victor McLaughlin and Boris Karloff and a few other guys that people may know if you're a Golden Age Hollywood fan, or I guess pre-Hays Code fan, Wallace Ford and Reginald Denny.

They're kind of relatively not big names but they're like character actors I think but everybody else seems to be just kind of you know random people cast and this film I don't have a obviously since Kevin is not here I don't have the plot synopsis that he would typically write up but are you good with me going with one that is from the I think it's from TCM let me verify I think it does spoil it.

Spoilers ahead.

Um, and yeah, it's it doesn't ruin the drama of the film knowing that, you know, a lot of them die.

Now this movie is kind of interesting because it was the, the movie made the year right before the informer, which also starred Victor McLaughlin.

And that was directed by John Ford.

And I believe that's where they all got, they both got their first Oscar and,

We've just been building from that.

And these uniforms, for example, were loosely inspired by the shirt that John Wayne wore in a John Ford movie called Stagecoach.

Well, that's where that came from.

And Robert Fletcher was the designer, the costumer.

You know, he was in The Wild Bunch, which is one of the greatest movies ever fucking made.

I love how on the set he was just like, look, John Ford gave me some advice and it was like, less is more.

So I'd

like you to take all of my dialogue in this film and reduce it.