ACME Eagle Hand Soap Radio Hour Today (393)

Thank you for joining us today

Before our feature presentation, ACME would like to start the evening with another Daffy Duck Looney Tunes cartoon, the 1965 Tease for Two, (co-starring the Goofy Gophers) directed by Robert McKimson.



Unlike previous appearances of the Goofy Gophers, where Stan Freberg voices Tosh, here Mel Blanc voices both Mac and Tosh. The cartoon also marked the final theatrical appearance of the Goofy Gophers during the Golden Age of American Animation.


Before the start of our feature presentation, the staff of The ACME Eagle Hand Soap Radio Hour usually never promotes anything other than ACME products but Mrs. Dr. Caligari created a video and we thought we'd share it with you - hope you enjoy it:



While I don't personally drink coffee, I can guarantee if you like coffee, you should try this recipe - you'll love it!


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 1970 drama, The Conformist (AKA Il Conformista, directed by Bernardo Bertolucci, and starring Jean-Louis Trintignant, Stefania Sandrelli, Dominique Sanda and Pierre Clémenti. Set in Rome in the 1930s when Fascists had tightened their control over Italy, this breathtaking film is tangentially about a Mussolini operative sent to Paris to locate and eliminate an old professor who fled Italy when the fascists came to power. Beautifully designed by Ferdinando Scarfiotti to reflect the fashions and imposing architecture of the Mussolini era, the film is stunningly shot by Vittorio Storaro, whose gleaming, dynamic cinematography later proved an inspiration to American directors such as Martin Scorsese, Steven Spielberg, and Francis Ford Coppola. Coppola even lured Bertolucci's director of photography, Vittorio Storaro, to the Philippines to bring his talents to bear on Apocalypse Now. So push away from the table, get comfortable and join us in watching The Conformist.



At first the film had been edited in a linear way by the usual editor Roberto Perpignani. Later Franco "Kim" Arcalli tried to edit some sequences of the film alternating past and present and changing the structure of the film. That attempt convinced Bertolucci so much that he decided to reassemble the film by Franco Arcalli, who since then became his brilliant and irreplaceable editor. Alberto Moravia's novel is told from an omniscient point of view. For the film adaptation, Bernardo Bertolucci chose to tell the story more from the viewpoint of the protagonist, whose memories and feelings are deliberately misleading and unreliable. Bertolucci's non-linear approach to the film's timeline only adds to the film's stream-of-consciousness feeling.



Demand Euphoria!