Before our feature presentation, ACME would like to start the evening with another Daffy Duck Merrie Melodies cartoon, the 1950 Golden Yeggs, (co-starring Porky Pig) and directed by Friz Freleng.
This is the first of only two shorts (along with Rocky's next appearance in 1953's Catty Cornered) where Rocky is the antagonist to a character other than Bugs Bunny.
Before the start of our feature presentation, the staff of ACME Eagle Hand Soap Radio Hour would like you to join us in watching an older British gentleman ambles onto a stage and play one of his old tunes. A couple of people tune in on the Beeb
Last week Elton John gave what has been reported to be his final concert tours in the UK at the Glastonbury Festival. Celebrating his more than 50-year career, the 76-year-old rocker played a 20-song set, closing with his 1972 classic Rocket Man as fireworks went off over the festival. The BBC which broadcast the concert has reported that over 7 million people tuned in.
We've picked another entry from the excellent reference book, 1001 Movies You Must See Before You Die by Steven Jay Schneider. Today's film is the 1964 Japanese New Wave classic, Woman In The Dunes (Suna no onna), directed by Hiroshi Teshigahara, and starring Eiji Okada, and Kyoko Kishida. The film was immediately considered one of the 1960s’ great international art-house sensations. Critics and audiences have spent years deciphering the allegories of Woman in the Dunes, whose seemingly linear plotline can be approached from any number of political and sociological stances. Many found the film a perfect retelling of the Sisyphus myth and a brutal allegory for the modern human existence. So please join us here at The ACME Eagle Hand Soap Radio Hour and sit back, get comfortable and enjoy watching this deeply felt work, Woman In The Dunes.
Kyôko Kishida and director Hiroshi Teshigahara had a number of artistic differences in the film, ranging from Kishida's character's manner of dress to her symbolic importance. Kishida wanted to portray her character as a universal "every-woman" while Teshigahara insisted that her character was uniquely Japanese. Teshigahara's vision eventually won out.
Demand Euphoria!
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