The WAYNE GALE VARIETY HOUR ep 32: Matt and Danno’s 20th Anniversary!!!

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DANNO KLONOWSKI and MATT  RISNES  have now officially been friends for 20 years!!! HAPPY ANNIVERSARY!!!

They like talking about stuff at length and in-depth and this time they are discussing the long gone movie theaters–THE CATHEDRALS, if you will!–of their youth.

BUT FIRST: We open with some UNO HITTRES including: NIGHTMARE ON ELM STREET 2/NEVER SLEEP AGAIN (with a special NMOES2 dissertation by 3rd Host of the show RAFE GUTTMAN), THOR 2, AGENTS OF SHIELD, PRISONERS, ONLY GOD FORGIVES, Matt’s amazing story about attending a screening of 12 YEARS A SLAVE followed by a Q&A session with the director STEVE McQUEEN and much, much more.

THEN: THE WAY WE WERE–1985!!!

FINALLY: A look back at our cinematic youth and the theaters we loved–ALL OF WHICH ARE GONE NOW!!! Our favorite theaters in the Northern Minneapolis Metro area. Memories both good and bad, what we saw where, and lots of teenaged dating fumbles.


Comments

  1. Dale Roy says:

    This was a fun episode guys. It was great hearing you two reminisce about the old days and the movies you went to, with the memories attached to it. I was surprised to hear just how many theaters you guys had around you growing up.

    I grew up in an isolated little Canadian mountain town with a population of about five thousand. We had one movie theater, with one solitary screen. During the week if the movie was not too long there would be two movies per night, three showings on the weekends – maybe 4 movies per month. Needless to say only the bigger budget, popular movies came there and as soon as the bigger towns / cities. So I found myself feeling a tad jealous hearing about the amount of theaters you guys had and the choices of movies.

    Not to even mention all the stories of your parents taking you to cool and not so cool movies. Growing up my parents took us to two movies I recall at the theater, in my entire life, only once with my Dad. We did make the hour and half trip a couple times to go to a Drive-In theater which was awesome, loved that. As you can imagine I did not get to a whole lot of movies until I was old enough to go by myself or be dropped off or go with friends type of thing. You will probably find this strange but where I live now here in the States, in Pennsylvania. We have only one theater within a half an hour drive, but we have no less than 3 drive-Ins that are closer. Which is awesome. One of them just switched to digital, the other two or at least one them for sure will end up going out of business due to the price of converting.

    Anyway, keep up the good work boys! I have not written in in a long time but I have been listening to every episode.

    Cheers,

    Dale Roy / Exploited Cinema podcast

    | Reply Posted November 21, 2013, 11:34 pm
  2. Rafe Guttman says:

    What follows is a lengthy analysis of Hot Fuzz’s subtext. Much like its post-Thanksgiving author, it’s bloated. And much like a wishbone, you may want to split it into two parts. Or much like a fruitcake, you may simply wish to briefly acknowledge its existence without attempting on-air ingestion, leaving it here to molder. Final cut is at your discretion.

    Whether you believe JFK died due to one trigger or by multiple buttons pushed from a cabal depends more on the prism you view the world through than any possible light gleaned from the case facts. We are often told that those who can’t reconcile the grainy image of a man so great being erased from history’s ledger by a man so small, concoct labyrinthine conspiracies for equilibrium’s sake. We, however, are not told that those who scoff from their high, grassy knoll at such theorists harbor a world view that stresses the ability of the individual to knock destiny’s wheel off-kilter. The scoffers believe a disaffected, resource-poor communist armed with a mail-order Italian bolt-action rifle can change history or a disaffected, rich Jihadist can orchestrate a successful simultaneous attack on America’s financial, military and political headquarters from a cave. They know one person can wield that much power. Besides, what is the story of Western history other than the freeing of the individual from the group?

    Yet in our electronic era with facts flooding us instantaneously, we must still await group consensus to sluice out the truth. For example, news of a celebrity death must be validated not by images of the event but by reports from other news outlets. Seeing is not believing. Agreeing is believing. Yet, since 9/11, our collective prism is cracked. We can no longer see whose hand grips fortune’s wheel: the Apollonian lone gunman or the Dionysian cult.

    A Cinemax free-preview and a social calendar that would make The Unabomber seem gregarious in comparison, combined to afford me the opportunity to screen a film that both confronts and circumvents this issue of man and cabal, only as a post-modern film can do: utilizing pop-culture references, biblical allegory and 9/11 imagery. That film is Edgar Wright’s “Hot Fuzz.”

    Simon Pegg’s Nicholas Angel is a hyper-vigilant cop promoted to a sergeant’s post, but cast out from bustling London, to the slumbering village of Sandford for the ostensible reason of not being a “team player.” Essentially, he’s taking too much pride in his work. Thus, this Angel’s sin is the first sin: the sin of Lucifer. The fallen angel symbolism is resplendent and redundant. His Sandford police car license plate reads “CASI MXX.” I know little of Latin, but enough of Wikipedia to decipher “casi” as the genitive singular case of “casus” which means fallen. MXX may be interpreted as Roman numerals giving us 1020 or in U.S. cop-speak, the code “10-20” for discerning someone’s location. Most of the film’s hints are less subtle. When Angel rides into town on a pale horse with rifle butts protruding from his backpack forming wings, the symbolism borders on garishness.

    In keeping with this biblical allegory, our Eden is the sleepy hamlet of Sandford. Its bucolic landscape belies a sinister secret: local gruesome deaths are being mislabeled as accidental. Angel finds his new law enforcement partners relishing their blissful ignorance. By revealing to them knowledge of the truth, he will banish them from this gilded garden. And just as the pain of labor, both for Adam and Eve, were necessary for growth, the realization that their Sandford existence is a mirage will exchange temporary pain for future rewards.

    The revealed truth is the Neighborhood Watch Alliance is behind the murders. At first, Angel is sure Mr. Skinner, played brilliantly by a smug Timothy Dalton, is the lone culprit, murdering townsfolk because he is fueled by unmitigated greed. This is what the NWA wants Angel to presume; Occam’s Razor can be a blunt tool.

    Eventually and with no thanks to the fourth estate, the local newspaper is rife with errors and fluff, Angel stumbles upon the truth: in order to keep up appearances, the NWA makes local malcontents and miscreants disappear. The 9/11 conspiracy symbolism rears its collective head here.

    In the third act, Angel with his awakened partner and police force, combat Skinner’s men inside his supermarket. The henchmen are armed with cutlery while the police use multiple shopping carts as a battering ram (a possible reference to the alleged use of a food cart to gain entrance into the Flight 93 cockpit by the passengers). Also, Skinner and his secretary are both armed with box-cutters in this third act. A confiscated sea mine, kept locked in the police station’s armory with the passcode: 999 (the British equivalent of 911), is accidentally detonated by the remaining member of the NWA, Mr. Weaver, who was in charge of the town surveillance system, which had previously failed to capture the evidence of a home explosion, offering only an incomplete picture (which is reminiscent of the released Pentagon surveillance footage). The ensuing devastation from the mine explosion is a miniaturized recreation of the rubble at Ground Zero.

    Perhaps I’m seeing all this through a cracked prism, but by emphasizing the ability of one man to find the truth, Hot Fuzz synthesizes the power of the individual with the perfidious pull of the cult. It suggests that, as Pegg and Frost were influenced by the action films of their youth, viewers of this film should find the courage to question their collective world view. In this era, a disaffected gamer with a laptop, a Moby CD and a YouTube account can upload a video that may change the world or, more importantly, how we see it.

    | Reply Posted December 2, 2013, 2:04 pm


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