The Extras - Warner Archive May 2023 Blu-ray Reviews: "Queen Christina," "King Solomon's Mines," & "The Courtship of Eddie's Father"

Episode Date: June 6, 2023

George Feltenstein of the Warner Archive joins the podcast for a fun and informative review of three May Blu-ray releases.   We dive into the restoration and all of the extras on each release and share our insights into why these films are worth adding to your Blu-ray collection.In "Queen Christina" (1933) Greta Garbo stars in one of her greatest roles, as the 17th-century Swedish queen fiercely devoted to her country who fights at the head of her army like a man but who loves like a woman. Directed with his own unique style by Rouben Mamoulian, this M-G-M classic endures as a masterpiece of classic cinema.Stewart Granger and Deborah Kerr star in the adventure story "King Solomon's Mines" (1950), all shot on location in Africa.  Granger plays Quatermain in this M-G-M adaptation that was nominated for the Best Picture Oscar® and won the awards for Best Color Cinematography and Best Editing. Deborah Kerr plays the plain Englishwoman who hires Quatermain to lead the hunt for her missing husband, even though no safari has ever returned from uninhabited regions their expeditions must cross. Child star Ron Howard joins Glenn Ford in the delightful romantic comedy "The Courtship of Eddie's Father" (1963).  Shirley Jones, Stella Stevens, and Dina Merrill play the potential new Mrs. Corbett, in this earnest and stylish film directed by the iconic Vincente Minnelli.Purchase now on Amazon:Queen Christina Blu-rayKing Solomon's Mines Blu-rayThe Courtship of Eddie's Father Blu-rayThe Sitcom StudyWelcome to the Sitcom Study, where we contemplate the TV shows we grew up with and...Listen on: Apple Podcasts   Spotify Warner Archive Store on Amazon Support the podcast by shopping with our Amazon Affiliate linkMovieZyng Affiliate The BEST place to buy all of your Warner Archive and Boutique DVDs and Blu-raysDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.The Extras Facebook pageThe Extras Twitter Warner Archive & Warner Bros Catalog GroupOtaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers. Contact us today to see how we can work together to achieve your goals. www.otakumedia.tv

Hi, I'm film historian and author John Fricke. I've written books about Judy Garland and the Wizard of Oz movie, and you're listening to The Extras. Hello and welcome to The Extras, where we take you behind the scenes of your favorite TV shows, movies, and animation, and they're released on digital, DVD, Blu-ray, and 4K, or your favorite streaming site. I'm Tim Lard, your host. And joining me today is George Feltenstein of Warner Brothers to review three Blu-rays

released on May 30th from the Warner Archive. Hi, George. Hi, Tim. It's always a pleasure to be with you on The Extras. Well, May has been quite a month. I think it's probably had the most releases I can recall in, well, more than a year with eight. Yeah, everything came together so that we could make it a very robust month.

And we're going to try to continue at that kind of a pace. It may not be eight, but I think, you know, five, six to eight depends on the month and depends when all our projects are finished. And if we don't run into speed bumps. So right, right. Lots to look forward to. But May is a month we're very proud of. Well, I'm excited to go over these three that we have today. I've reviewed all of them and they all look terrific and sound terrific with their restorations. But why don't we go through them one at a time, starting with the oldest one, and that is Queen Christina. Well, starting out with quite a wonderful pedigree, I'm delighted. This is a very impressive restoration job because previously we had

released this on DVD from like fifth generation safety preservation elements. And subsequent to that, I guess about 15, 16 years later, we were able to locate a nitrate dupe negative, which is third generation, but nitrate, and the quality is far superior. And I'm delighted with how it turned out. But I also have to give kudos not only to Warner Brothers Motion Picture Imaging for the outstanding job they did capturing the MGM look, but I was really pleased with how crisp and clean the audio was. For a 90-year-old film, this sounds really, really good, especially the dialogue. The frequency response on this is really, really good, especially the dialogue. The frequency response on this is really, really impressive. And the disc itself is such a tribute to Garbo and to John Gilbert.

And I think I spoke a little bit about this when we announced that the film was coming, but John Gilbert and Garbo had been engaged. They had starred together in silent films and there was a real chemistry between the two of them. And his career is at a low point. I have the highest regard for many people at MGM, including L.B. Mayer, but he had it out for John Gilbert, destroyed his career, and against studio judgment, Garbo fought to get him this role as her lover. And if someone were to look at this movie, they wouldn't realize that John Gilbert

would never make another meaningful motion picture and would be dead within two years. It's a heartbreaking story, but you also have a piece of history that's translated into cinema very efficiently. You have Ruben Mouly in directing, who's one of the most fascinating directing individuals of the 20th century, because he was responsible for landmarks both in motion pictures and on the screen. sound films. He made a film for Paramount in 1929 called Applause, which was quite groundbreaking in its use of sound and moving the camera and filming in the New York subways. And three years later at Paramount, he directed Love Me Tonight, which was a Rodgers and Hart musical where the songs propelled the plot. So Mamoulian was very cutting edge and creative and quite brilliant. He doesn't have a huge filmography, but most of the films he worked on are quite fascinating. And his work here is just, there's no other word for it, but stunning.

And you have all of the trappings of the great MGM sound department, the camera department, the wardrobe, the costumes, the sets. Everything is so meticulous. The story is told very efficiently. The running time is relatively modest. It's not overblown. I don't think there's a wasted frame in it. And there are many people who consider this Garbo's best performance on film. That's very understandable because she's captivating.

It's very rare. Even in the films she made that weren't that good, she never made a film that was unwatchable. But some of them were more successful than others. And yet in every film, her face on the camera, on the big screen as captured by the camera, you just can't look away. And having this new Blu-ray created from a 4K scan of the nitrate dupe negative is the best I've ever seen the film look by a long shot. It has a very, very healthy grain structure, and it has that kind of conveyance of what it's like to watch a nitrate print back in the day. It has that sheen, silvery sheen of nitrate. And we're very, very proud of the release. Yeah, a few thoughts. One is that Greta Garbo is, of course, Swedish.

And she plays a terrific character in history as Queen Christina. And I just thought her performance was masterful, but I love the fact, you know, that, and this was a film I believe that she really wanted to do, right? Very much so. Yeah. And the script I thought just really pops. I'm always checking for like lines that pop out to me sometimes. And she just has a lot of terrific dialogue. And as you said, the screenplay itself is so tight. It goes where you need to go to keep the story going. And it just builds and builds and builds.

And there are just some great set pieces as well in there, just with the scenes out at the inn. And we're not going to give any spoilers away here, but that's a terrific set out there where she first meets the Spanish. The John Gilbert. Yeah, the John Gilbert character. And then the scenes out there where they're riding the horse through the countryside. I mean, there's just fantastic cinematography in this. Everybody's at the top of their craft. Absolutely. Yeah. And Garbo is right there with them.

And you can just see her passion for this character, for this film. And, you know, you just recently had, George, the release from the Warner Archive of Camille. Right. I love the fact that we've had two Garbo. I mean, these two are probably right there at the top and that they've both been released on Blu-ray. So of course it was fresh in my mind thinking back to reviewing and watching that film. And I can't pick between the two. They're both fantastic. And if you're a Garbo fan, you have to own both of them with these new restorations.

This is a wonderful, wonderful film. And as you said, 90 years old, you kidding me? Looking this fantastic? And then the story holds up 90 years later. Right before this film was made, Garbo, if I have my history correct, I believe Garbo left the studio and people were concerned that she wasn't going to come back. And while she was on, she was going to Sweden. And while she was taking that trip, someone had given her a biography of Queen Christina, and she really wanted to play that role. And her friend who lent her the book thought she'd be great for the role

too. So when she did decide she was going to go back on the screen, she went to Irving Thalberg and said, I want to play this role. And everything fell into place. And I just find it endlessly fascinating to look at, especially because I'm so used to seeing it look terrible. It's always looked terrible. The more popular MGM black and white movies from the 30s tended to be from so many generations away and so filled with damage. And this was a very long, meticulous process to get it into shape. But the net result is just a tribute to everybody who worked on the film. is just a tribute to everybody who worked on the film and how great that you can see the intricacy of the fabrics and the costumes and everything. Oh yeah. Yeah. The costuming is fantastic. The sets, everything. And it is just terrific. And we haven't really talked about the

extras, but that episode of the MGM parade is really informative. It's about the career of Greta Garbo. But what's really interesting about that episode is that they have George Cukor come on and talk about working with her on Camille. That is a wonderful behind the scenes look. That was the primary reason that I added it to the disc because they really didn't do that. That series was MGM's dip into the dipping a toe in the water of television. And they could never quite find a right format. And they were using shorts and excerpts of features. And then there was always a piece where someone was promoting their new movie,

but it wasn't working to anyone's satisfaction. And it was on ABC and ABC wasn't happy and MGM tried to make some changes, but they didn't actually dedicate an episode to one of the great stars of MGM except for Garbo. But having Cukor and a relatively young Cukor, because there's not a lot of film of him talking in that period. There's a lot of film of him talking in the 60s and 70s. And I guess he died in the 60s and 70s and right i guess he died uh in the early 80s uh but he did do a lot of interviews in the autumn of his years this is you know more like late summer um but uh no he's really on the top of his form and he worked with Garbo more than once and very successfully.

I believe Camille and then her last film, Two-Faced Woman, I believe he directed that. But her relationship with him on Camille was sensational. And to have that perspective of someone who worked with Garbo talking, now we're saying 67 years ago, 68 years ago when that episode was filmed, that's remarkable. So I was really pleased to be able to add that to the disc. Yeah, I love that. And then of course, having the theatrical trailer on there is really informative because they really do push that whole element of Garbo has been gone for a while and she's coming back in this new film. And so I love seeing that part of that theatrical trailer as well. They normally didn't do those kinds of special trailers.

They were pretty straightforward, but they really tried to make this into an event. And it premiered in New York at the Astor Theater, which was right across the street from the Lowe's Incorporated building. And that's the theater that had the massive block long billboard above the theater. Right. We have photos in the archive of the Astor Theater when the film was opening. It was just like Garbo and Christina. You know, it was a big deal. But the film was not appreciated as much upon release as it now is looked upon.

is looked upon. And it stands alongside Camille and Grand Hotel and Natchka and Anna Karenina, not to mention her silent films and Anna Christie, as like one of the very finest Garbo films. It's really, we're just so delighted to be able to release it and have it look and sound so good and have some really important extras. Well, before we go on to the next film,

there were two other things I wanted to mention. One was that you talked about Mamoulian directing her in this film and you recently released another one of his fabulous films that looks terrific and fans have been loving. But I just want to bring that to the listeners' attention. And that was the 1931 Dr. Jekyll and Mr. Hyde. Stay with us. We'll be right back.

Hi, this is Tim Millard, host of The Extras Podcast. And I wanted to let you know that we have a new private Facebook group for fans of the Warner Archive and Warner Brothers Catalog physical media releases. So if that interests you, you can find the link on our Facebook page or look for the link in the podcast show notes. Exactly. Because again, it shows a director breaking boundaries and doing different things. And that's just two years before this, or yeah, a couple years before this film. And as part of his filmography, I mean, these two films are, to me, I think they're must-owns. And the Blu-ray Restorations fans and reviewers have talked endlessly positive about Dr. Jekyll and Mr. Hyde.

The other thing I wanted to bring up too, George, is this is 1933. And I think you've mentioned how great of a year, or we've talked about maybe in the podcast, how great of a year 1933 was. Oh, without question. And it was the last full year before the production code was imposed, because it was imposed in July of 1934 or enforced, I should say. Right. And so anything that was made before July 1934 didn't have that constriction on it. And I think that's a big reason why the 1933 films are so fascinating. Yeah. And just as a reminder for people, we're talking King Kong, The Invisible Man,

Duck Soup, 42nd Street, Gold Diggers of 1933, Mystery of the Blacks Museum, Footlight Parade, Babyface. I mean, we could go on the number of fantastic films, many of which have been released by the Warner Archive on Blu-ray. And there will be more. And there will be more. Well, a couple of years later, the next film we're going to talk about came out, and that's King Solomon's Mines. And this is just purely fun. I mean, it's just a great time, right? Yes.

And this was a box office phenomenon when it came out. And it was re-released theatrically several times. And we've gotten so many requests for this film. One of the problems with this film in prior iterations was it looked muddy and ruddy. And again, we had to go back to the, just like the boy with green hair, we had to go back to the original nitrate Technicolor camera negatives, much and they were so not nimble that MGM sent big stars and a few supporting actors, as well as resident tribal individuals, to appear in this film. And so when it opened, people's eyes were opened to the fact that this was something

like they were getting to go halfway around the world and see in technicolor what it was like. And a lot of people refer to Stuart Granger's character, Alan Quartermain, as the Indiana Jones of 100 years ago or whatever. This is based on a very famous book that was written inGM thought it was prime material to film a Technicolor, send their crew to Africa, and make it on location in Technicolor. this very interesting short subject that is called Jungle Safari. It's on there, although there's no main title on it. And I knew we had it. We had an awful tape copy that was made like 30 years ago, because at the time, the documentary series MGM When the Lion Wars was being made, so any piece of footage that was in the warehouse that had behind the scenes shots was put cheaply on a tape. So we looked at that, but it was so awful that we decided to pull back in the film elements. That is actually a 4K scan of the very special film because that film wasn't, the reason there's no titles on it,

is it wasn't actually made for the public. They only made one print and it was made at the request of L.B. Mayer to be sent to the president of General Motors, because as you can see and hear in the narration, it's very much about how Dodge trucks helped Metro-Goldwyn-Mayer make King Solomon's Mines possible. So it was a very expensive thank you gift from L.B. Mayer to the head of General Motors. And I had to kind of dig through the legal files to find out exactly why that was the way it was. Meanwhile, because it was thrown on a tape 30 years ago, it has been shown looking like mud on Turner Classic Movies. But now it'll look great because it's a new HD master. It's not a restoration. We didn't have the time or funding to do, you know, pristine cleanup like we do on our features. But I think it looks really good. The color is beautiful. And it's fascinating to see them on location making that movie.

And this is really the movie that put Stuart Granger on the map in the United States. And Deborah Carr had signed with MGM in the late 40s, and the two of them were really top stars for MGM throughout the decade, the 1950s. They were both big at the box office, and of course, Deborah Carr went on to do many other wonderful things. And Stuart Granger had found his niche primarily in action adventures and occasional western and a lot of costume epics but uh he's I I think sadly he's forgotten today and he was quite a big star at one time yeah he's terrific I mean he's got that look right he's got that look for that era he's got the kind of the gray around the temples there but he's got that look for that era. He's got the kind of the gray around the temples there, but he's got that wonderful head of hair and that statuesque kind of physique. So he really carries that off.

And, you know, the romance there between the characters is fun. I love these kinds of movies, right? They're just adventure stories. adventure stories. And as a person who drives a Jeep, I really enjoyed that extra you were just talking about showing the Dodge going over the rocks through the mud holes. It's fun to see that behind the scenes because you know, when you see the movie, that this was quite a challenge to film on location. And I just love that kind of whole, the fact that it captures that moment. They filmed it in what, 49 maybe or something? Yes. Yeah.

And we're talking about an Africa that you cannot find anymore. All of that footage that they shot on location in the villages with the locals and in the mountains, it's fantastic. And the story just carries you along. Now, I did read somewhere that Errol Flynn had maybe been thought of for the role as well. Is that right? That's possible. I've never researched that part of the film, but it was at that very time that MGM had borrowed him from Warner Brothers to do that Forsyth woman with Greer Garson and Kim with Dean Stockwell. So they had borrowed him for two pictures.

And so it's very feasible that he was under consideration. I bet if I went and looked in the legal files, I would find correspondence about that. If you read it someplace, it's very likely true. Yeah. And it's kind of fun that you're releasing this in the month when the new Indiana Jones is coming out to theaters and people who love that era or that type of film, that adventure film. It's a lot of fun to see this one. That was a decided plan on our part because so many people made comparisons that King Solomon's Mines and similar films served along with serials as the inspiration to Spielberg and Lucas to make Raiders and create Indiana Jones. And I'm a big fan of just kind of that whole era of adventure and exploration that late 1800s where Africa was just opening up and all of the films about that period. There's kind of a romanticism to that to that period and going into the areas where no one had ever gone before except for the locals. And so I just really enjoyed this film.

It's terrific. Well, I hope that the people who do receive it and do go buy it will be blown away by what a great entertainment it is and how great it looks and sounds. Well, we're going to kind of go opposite from the jungles of Africa. In our next film, we're going to go urban. And this is with The Courtship of Eddie's Father from 1963.

What can you tell us about this film, George? It's very interesting that you position it that way because it represents MGM 13 years later and you have one of the greatest directors of all time certainly one of the greatest directors to work at MGM Vincent Minnelli who I've often said really could master any genre and do it very, very well. And here he's making a, I almost don't like to call this a comedy because it's really, in my mind, more of a drama with a lot of comedy in it. It's almost like a dramedy because when you say Courts Court of Betty's Father, the first thing people think about is the TV series with Bill Bixby, which MGM produced from 1969 to 72, and which we did put out on DVD 10, 11 years ago. And we're very proud of that. It was a great show.

a great show. Both the show and the original film were based on a novel by an author named Mark Tobey, which was a best-selling book. And I believe it was a true story. I think, I'm not sure of this, based on this gentleman's experiences being a widower and raising a son. Not sure if the man wrote it as fiction or if it was based on his life. I don't know that. I'm sure the answer can be easily found if you Google it. However, MGM bought the rights to the novel, made the film. The film was produced by longtime MGM producer Joe Pasternak, better known for his musicals with Jane Powell and Catherine Grayson and, you know, in the 40s and the 50s, Esther Williams movies. But he changed with the times as people stopped making musicals and he started to make some very successful comedies and dramas. And he was a very long-tenured employee.

He was at MGM from 1940 to about 1965 or 66 and was very prolific. And this is one of the films for both Minnelli and Pasternak that was a smash at the box office. The reviews were terrific. The box office was strong. And the real centerpiece of it is the wonderful on-screen chemistry between Glenn Ford and Ronnie Howard.

I think they both give tremendous performances. Ronnie Howard was a great child actor, grew up to be a great film director. But all of his performances as a youth, whether it's in The Music Man or The Andy Griffith Show, or later when he was older on Happy Days or whatever, he know, he was always American graffiti. He was a terrific actor. Yeah. But there are some moments in this film that are terribly heart tugging, not mawkishly so, or manipulatively so, or saccharine. It's very touching. Yeah. And Glenn Ford, I think this is one of his best performances not saying something because it's so understated isn't it george yeah he he actually there are just sections where he just doesn't say a lot and he's emoting and it's fantastic and this is another 4k scan off the camera, so it looks light years better than what the DVD looked like

and what people are used to seeing. And great performance from Shirley Jones as Elizabeth, who Eddie really wants his father to marry. And Shirley Jones and Ronnie Howard, of course, had worked a year and a half earlier on The Music Man together where they played very older sister and brother. But their chemistry is terrific. Everybody's chemistry is great. Mrs. Livingston, the maid on the TV show, is played by Miyoshi Yumeke,

but her character is written in the original film. It was played by singer Roberta Sherwood, who's very charming and very funny. And then you have as the rival for the father's affections, Dina Merrow playing the rich socialite. And she was a socialite in real life. Right. But the difference is, is that in real life, she was supposedly a very nice, nice person, very talented actress.

But her character in this film is, you're supposed to hate her, and she does a really good job of making you feel that way. Right. And then they also tried to build the career on screen of Jerry Van Dyke, Right. And of course, Betty's father said he was trying to build up Jerry Van Dyke as the next new big thing. And his career never really took off. I think it finally took off when he was on Coach, you know, in the 90s. But he was on My Mother the Car, so we can't take that away from him. But he's funny in the movie.

Stella Stevens is wonderful. She just passed away recently. And she's a kooky character, but you just love her. You know, it's very, very well written. The screenplay is terrific. The production values are 100% MGM still at its height, where you had all the great set decorations and recording supervisors and camera people. They were all long-time Metro veterans. And thankfully, this was a smash hit. It opened a Radio City Music Hall, had long, long lines, and eventually, six years later, did inspire the almost completely different television series because the TV series went for that kind of 1969

mod, hip, nonconformist view. But it's very cool. I had put a picture on our Facebook page, only one of two behind the scenes shots I could find with Minnelli in it. And it looks like he's either making them laugh or he's giving them a very pointed direction. It was a very interesting photograph. But Shirley Jones is smiling. And we've gotten a lot of clicks on that photo. So I think people want to learn more about the film. And thankfully, we were able to carry over the commentary that was reported for the DVD that came out over 20 years ago. And the late Dina Merrill and the late Stella Stevens are joined with the thankfully not late Shirley Jones. She's very much healthy and still with us, just at the TCM Film Festival a few weeks ago. And all three actresses talk about their work on the movie, and it's a very engaging,

lively commentary. And to get the three different perspectives from the three different ladies, all of whom were basically rivals. Well, Stella Stevens was more interested in Jerry Van Dyke, but they all had very important parts in the film. And I found that to be a particularly impressive commentary. And I'm always glad when we can repurpose that. We ran into a situation recently where we found some of the DVD commentaries, because they're married to the film, some of the commentaries that were recorded for DVDs won't sync with the new HD master made off the camera negative. So we've had to become very

resourceful. In some future releases, people will get their commentaries, but in a way that they may not expect. But to have the words of a lot of these people, especially if they're no longer with us, is incredibly valuable. And then we added a 1963 Tom and Jerry Chuck Jones cartoon in high def onto the disc, along with the trailer in high def onto the disc along with the trailer in high def. And that cartoon Penthouse Mouse was the first Tom and Jerry MGM cartoon made by Chuck Jones after the Warner Brothers animation unit was folded. And he went to MGM to start putting his take on Tom and Jerry. And it's a cute cartoon and it looks and sounds great. I really enjoyed this film.

I mean, I love the look. We just recently, you released the long, long trailer, of course. And that had that fantastic look as well. But a lot of that was also on location. This one is in sets, you know, for the most part, other than maybe the camp. But I love the apartment, the hallway across the hall. Of course, Shirley Jones character lives that whole setup. You know, you

can see why they turned it into a TV show. It's got that kind of that set, but I love the colors. I love the designs. I love all of that. That is so representative of that early sixties. And, you know, Dina merrill's outfits are stunning right they're the she's gonna be this fashion yeah that's all manelli colors yeah colors uh colors of costumes i'm going to ask you about the colors george because this is not a technicolor but it does say right on the cover in color color. But the colors look terrific with this new master. Well, again, we're going back to the camera negative. And this is the period of time where Kodak had reformulated the Eastman color stock.

So a negative from a 1963 release, if properly stored, can look fantastic. And this does because they had gotten rid of the poisonous aspect of the formulation of the chemicals in the Eastman color negative stock that was causing the yellow layer or the blue channel, whatever you want to call it, to collapse and then therefore exacerbate fading and grain. This looks just like a shiny bauble. And with a director like Minnelli, where the visuals were so meticulously picked out and selected. He took such care in that regard. To be able to give it this kind of presentation is a true joy. Yeah, it was fantastic. Love the extras. I mean, I think that anybody who is a fan of these actors of Minnelli of that era, you were saying, is this a comedy? I mean, the comedy comes from the Van Dyke character and from Roberta Sherwood. She's trying to learn

Spanish. There's a lot of comedy there from the supporting actors. The main story between Glenn Ford and Ron Howard, the father-son relationship, that's a very serious, and they tackle some really, as you said, heartfelt but difficult questions of dealing with loss of a mother, but also a boy that's transitioning and growing up. I thought it was just such a terrifically well-done story wrapped in this wonderfully colorful, visually stimulating package, and one that people should hopefully they they buy this and they get this new blu-ray transfer because it looks and and i i think it's the kind of film too that you could watch over and over and really yeah it's not appreciated enough it's not i think it's been

overshadowed by the television series that followed it uh people forget that it was a critical success and an audience success and uh it's i can't even get the words out it's 60 years old it's not possible right but um the novel was such a big success that mgm grabbed it right away and uh said this is going to make a really really good film yeah and thankfully it all turned out really well and now we have a new presentation that just glows and shimmers and does Benelli right. This wasn't his last film, but this was his last commercially very successful film. He had some other films that came after that may have been received well

critically or were modest box office performers. Certainly his films at MGM in 1970 kind of made a little bit of a directorial comeback doing On a Clear Day You Can See Forever at Paramount with Barbra Streisand. But the film suffered so much from post-production editing and everybody was like freaking out about musicals that were failing. So the picture was cut so heavily. We don't know what Minnelli actually originally intended. I still see his genius in that film, but it was not financially successful. Court of Eddie's father was really the last financial success he had. So by all means, if you're a Minnelli fan from the musicals or from the dramas,

like some came running or the romances like the clock, this is very much a successor to father of the bride and the long, long trailer. And that kind of family comic drama, this slice of life, you know, you can do that and do it so well. Yeah. Highly recommend it. Yeah, for sure.

Well, it's always great to have George Feldstein on to talk about the Warner Archive releases. In our next podcast, George will be back to talk about the Warner Archive releases. In our next podcast, George will be back to talk about two more May 30th releases, the 1948 drama The Boy with Green Hair and the 1964 Hanna-Barbera theatrical release of Hey There, It's Yogi Bear. That episode will also have an extended discussion of Hanna-Barbera, so all of you Hanna-Barbera fans will want to be sure to hear what George has to say. We did not talk about the two early May releases, Border Incident and Clash by Night. So if you'd like to hear our review of those two films, be sure and check out the April and early May release highlights episode.

And we also didn't get into the release on May 30th of the Looney Tunes Collector's Choice Volume 1, as that also has its own episode with animation historian Jerry Beck. For those of you interested in ordering the films we discussed today, there are links in the podcast show notes and on our website at www.theextras.tv, so be sure and check those out. If you're on social media, be sure and follow the show on Facebook or Twitter at TheExtrasTV or Instagram at TheExtras.tv to stay up to date on our upcoming guests and to be part of our community. And for our long-term listeners, don't forget to follow and leave us a review at iTunes, Spotify, or your favorite podcast provider.

Until next time, you've been listening to Tim Millard. Stay slightly obsessed. The Extras is a production of Otaku Media, producers of podcasts, behind-the-scenes extras, and media that connects creatives with their fans and businesses with their consumers. Contact us today to see how we can work together to achieve your goals at www.otakumedia.tv or look for the link in the show notes.