Peter Bogdanovich

Changes a lot.

And you can definitely see, like, that Bogdanovich is, like, you know, in that kind of mindset, too.

Yeah.

Or even

One thing I wrote down I think is true of the movie writ large, but it's also true of my experience of it and what I'm imagining my personal experience will be of this movie is that appreciation of this movie seems to have grown over time.

When you started getting filmmakers like Peter Bogdanovich and the Coen brothers and Tarantino and whatever, whoever else, referencing Howard Hawks as an influence and writing those kind of characters, these kind of Hawksian women, the Coen brothers went back to it multiple times.

having people who grew up watching it start to tell the next generation how great this is.

And then you get things like Turner classic movies that like enables you to, or the criterion channel that enables you to go back and watch this kind of stuff.

Kids going crazy kind of thing.

Uh, my sixth pick was I wanted to do something that was, uh, in the realm of true crime because I've reviewed a bunch of movies that are based on real life crimes, you know, um, targets, uh, the Bogdanovich film, the, uh, in cold blood, you know, um, you know, based on a Truman Capote book and, um, But I was like, okay, I need something that's...

Okay, this movie is definitely a little more extreme.

But I find the source material very interesting.

Peter Bogdanovich's mask exists in the murky area.

It's arguably his most mainstream film, yet his most controversial, for reasons we definitely dive into.

Based on the true-life story of Roy Rocky Dennis, a teenager afflicted by lionitis, a condition that will eventually kill Rocky.

This film also happens to star Cher in a powerhouse of a performance as Rusty, Rocky's mother, drug-addicted, suffering but never weak, and also instilling strength in her son.

And lucky for me, I'm joined by friend of the show, Michelle McBride, photographer and visual artist, who, like me, grew up with this film, has a personal connection to it, and was an absolute delight to dive into this golden-hued beauty of a film with.

So sit on that porch, grab a bud, as Michelle and I discuss, dissect, and deep dive Peter Bogdanovich's 1985 film, Mask.

This is In Film We Trust, and I'm your host, Liam, the King Count Cult, Carmelo, here to proselytise all things cinema, from the obscure to the mainstream.

And boy, we have a film today that I've been waiting to discuss for some time.

And on our Western episode earlier this year, everyone knows you're also a fan.

I actually bought this, the John Ford, the Peter Bogdanovich book from – originally published in 1968.

This is actually the 1978 edition.

This was printed in 1978.

Probably The Last Picture Show was always one of my favorite films.

And when Bogdanovich decided to do that in black and white in 1970, I think that was revolutionary at that moment.

So...

I feel like black and white, Glenn, gives you a gravitas in the film that I've heard someone talking about this the other day.