They Shoot Horses, Don't They?

Right.

So the next one is a film called They Shoot Horses, Don't They? um the plot is during the great depression a drifter named robert wanders into a dance marathon on the santa monica pier gets paired with a bitter hopeless young woman named gloria after partner is disqualified as the marathon grinds on for weeks contestants start collapsing an opportunistic mc manipulates the crowd for sympathy and spectacle and the couple's exhaustion curdles into something much darker so this movie it sounds crazy because you're like there's a dance competition like a dance marathon which you know that people have in college and stuff for charity or um gilmore girls had a really famous episode where they're doing a dance marathon but um roger ebert actually talked about this in his review uh many years ago um he put that you know erase the four smiles from the desperate faces and what the dance marathons the 1930s came down to was fairly simple it was a room full of human beings who went around and around within four walls for weeks at a time without sleep, populating a circus for others who paid to see them.

And at the end, those who didn't collapse or drop dead won cash prizes that was basically money during the Depression.

And in the Depression, it was a way to distract people from all the bad shit that was happening.

And then you really see her almost become even more of a victim than reagan in the movie because reagan is possessed you're sort of you're not you're not just watching the child you're sort of watching the the demon enjoying this part whereas really all you get from chris is this anguish this terror at losing her child um and i think burston really just holds that line so well selling that it's i i'm very much with you it's it's great great work

totally totally agree so moving on to miss jane fonda who despite being henry fonda's daughter said that she got into acting as a last resort after failing at a number of professions including being a secretary funny enough so she got signed to a studio started out as the girl in the late 50s in a bunch of romantic comedies not always but mainly and did those until I guess the late 60s when she starred in a movie called They Shoot Horses, Don't They? toward the end of the decade and that of course ushered in the most prominent phase of her career and the movie that you have brought today to talk about her is Clute.

How are you today?

I'm not going to be able to come back anymore.

Why do you say you're the best actress in the world at that time? Oh, because it's an act.

So what you reckon with Clute?

I mean, Clute for me, I think goes hand in hand with They Shoot Horses, Don't They? Which if They Shoot Horses, Don't They? was made in 1970, that would have been my pick.

But sort of what I was talking about earlier of this, incredible balancing act she has between a hardness and a vulnerability and i love the way clute tracks that balance it's it's this seesaw every which way because you have her doing this very hardened facade as this very high price call girl um and the fear she has of these you know anonymous phone calls that are sort of threatening her are almost thrown off by her because of how hardened she is she doesn't let them affect her they're they're a little unnerving but they're not they're not really scaring her yet.

And then you really see her almost become even more of a victim than reagan in the movie because reagan is possessed you're sort of you're not you're not just watching the child you're sort of watching the the demon enjoying this part whereas really all you get from chris is this anguish this terror at losing her child um and i think burston really just holds that line so well selling that it's i i'm very much with you it's it's great great work

totally totally agree so moving on to miss jane fonda who despite being henry fonda's daughter said that she got into acting as a last resort after failing at a number of professions including being a secretary funny enough so she got signed to a studio started out as the girl in the late 50s in a bunch of romantic comedies not always but mainly and did those until I guess the late 60s when she starred in a movie called They Shoot Horses, Don't They? toward the end of the decade and that of course ushered in the most prominent phase of her career and the movie that you have brought today to talk about her is Clute.

How are you today?

I'm not going to be able to come back anymore.

Why do you say you're the best actress in the world at that time? Oh, because it's an act.

So what you reckon with Clute?

I mean, Clute for me, I think goes hand in hand with They Shoot Horses, Don't They? Which if They Shoot Horses, Don't They? was made in 1970, that would have been my pick.

But sort of what I was talking about earlier of this, incredible balancing act she has between a hardness and a vulnerability and i love the way clute tracks that balance it's it's this seesaw every which way because you have her doing this very hardened facade as this very high price call girl um and the fear she has of these you know anonymous phone calls that are sort of threatening her are almost thrown off by her because of how hardened she is she doesn't let them affect her they're they're a little unnerving but they're not they're not really scaring her yet.