




We’re breaking into your regular podcast schedule to bring you a special bonus episode recapping our thoughts on the films of this year’s Sundance Film Festival! And we’ve asked Queerty’s Cameron Scheetz back on to tell us what the festival was like on the ground at Park City (along with thoughts on non-virtual films like I Saw the TV Glow)! Topics include June Squibb going vigilante as Thelma, a Kieran Culkin/Jesse Eisenberg Pain-ful duet, and our favorite films of this year’s festival!



Follow Us on Twitter!@Had_Oscar_BuzzJoe: @joereidChris: @chrisvfeilCameron: @cameronscheetz

BONUS – Sundance the Night (with Cameron Scheetz)

TV & Film






The 70s Spectacular comes to a close this week with actress Natalie Walker joining us to discuss 1979 and Milos Forman’s adaptation of Hair. The brainchild of Galt MacDermot, Gerome Ragni, and James Redo, Hair took Broadway by storm in the late 1960s for its narrative and political audacity, presenting the free-love and anti-war hippie movement of the time. Forman wanted to bring the musical to the screen after seeing the Off-Broadway production, but wouldn’t achieve that goal until after his One Flew Over the Cuckoo’s Nest Oscar victory. This delay turned the once ripped-from-the-headlines musical into old news when it eventually became a film.



This episode, we discuss the 2009 Broadway revival and the changes made to the film to give the story a more linear structure. We also discuss the best hair of 1970s cinema, Dustin Hoffman being a monster on the set of Kramer vs. Kramer, and Actors Fund Benefit concerts.



Topics also include the follow-up musical Dude, step and repeat falls, and “gliddy glop gloopy”.



Follow Us on Twitter!@Had_Oscar_BuzzJoe: @joereidChris: @chrisvfeil

293 – Hair (with Natalie Walker) (70s Spectacular – 1979)






The 1977 Oscar year is famously when Annie Hall triumphed over the cultural behemoth of Star Wars, but elsewhere Martin Scorsese followed up his Taxi Driver Best Picture nomination with a big swing and a miss. The Ankler’s Katey Rich is back on the show to discuss New York, New York, Scorsese’s attempt at a movie musical. Starring then-recent Oscar winners Liza Minnelli and Robert DeNiro as two post-WWII lovers whose creative ambitions clash with their relationship, the film received a critical drubbing for its pointed attempts at pastiche and its meandering length, and remains one of Scorsese’s least seen and discussed films.



This episode, we get into what does and doesn’t work in the film and how it gave us its indelible title track, later made infamous by Frank Sinatra. We also talk about the film’s tangled behind-the-scenes relationship to Star Wars, the music branch snubbing Saturday Night Fever, and the surprising lack of current availability for 1970s films.



Topics also include Vanessa Redgrave’s notorious Oscar speech, Al Pacino’s …And Justice for All hair, and Tell Me That You Love Me, Junie Moon.



Follow Us on Twitter!@Had_Oscar_BuzzJoe: @joereidChris: @chrisvfeilKatey: @kateyrich

292 – New York, New York (with Katey Rich) (70s Spectacular – 1977)






We’re on to 1976 (go sign up for our Patreon for 1975 and our Exception episode on Tommy!) and Christina Tucker rejoins us to talk about the 70s Spectacular’s wildest movie, The Ritz. From the play by Terrence McNally, the film is a mob farce set in a bathhouse with Jack Weston as a straight man hiding out from Jerry Stiller’s mob boss and living legend Rita Moreno as the sex establishment’s kooky cabaret headliner. Despite the pedigree of Oscar winner Moreno and then-newly-minted theatre icon McNally, The Ritz turned out to be a little too Looney Tunes for the stiff-upper-lip (and super straight) Academy.



This episode, we tackle the film’s harmless lunacy and McNally’s legacy. We also talk about Moreno’s Tony speech from the Broadway production, Rocky‘s victory over an incredible Best Picture lineup, and William Friedkin’s dour approach to producing the Oscar ceremony.



Topics also include the Continental Baths, Challengers, and Post Malone’s 2024.



Follow Us on Twitter!@Had_Oscar_BuzzJoe: @joereidChris: @chrisvfeilChristina: @C_GraceT

291 – The Ritz (with Christina Tucker) (70s Spectacular – 1976)






1974 brings us to one of the final films of Billy Wilder, which also reunited a screen duo beloved by both Oscar and audiences, Jack Lemmon and Walter Matthau. Vulture writer Roxana Hadadi is back to the show to talk about The Front Page, an oft-adapted farce about newspapermen getting wrapped up in the case of an escaped convict. Most famously retold in a gender swapped version in His Girl Friday, this version stumbles to deliver the best of this director-star trio and missed Oscar’s good graces despite multiple nominations in the decade for Mathau and Lemmon, including Lemmon’s win the previous year.



This episode, we talk about the victory lap made by Francis Ford Coppola with The Godfather Part II and The Conversation both earning Oscar love. We also talk about the film’s apoliticism was atypical of the moment, our love for Ingrid Bergman’s Supporting Actress speech, and the hubbub over the acceptance speech for Best Documentary Feature Hearts and Minds.



Topics also include disaster movies becoming the splashy Hollywood product, The Godfather Part II Supporting Actor nominations, and Anderson Cooper talking about his mom hooking up with Marlon Brando.



Follow Us on Twitter!@Had_Oscar_BuzzJoe: @joereidChris: @chrisvfeilRoxana: @roxana_hadadi

290 – The Front Page (with Roxana Hadadi) (70s Spectacular – 1974)






In 1973, the Academy embraced horror in a big way by slapping cultural phenomenon The Exorcist with 10 nominations – but then The Sting would triumph over its success on Oscar night. Critic David Sims returns to the show to talk about a different iconic and formative horror title, Nicolas Rouge’s Don’t Look Now. With prestige stars Donald Sutherland and Julie Christie, the film follows a married couple grieving the loss of a child while working overseas in Venice. Clairvoyance, a serial killer, and disturbing visions all amount to a unique horror film that would influence many to come, but nevertheless one that the Academy was not ready to embrace.



This episode, we talk about the film’s notorious sex scene and the film as an odd middle ground between The Exorcist and Last Tango in Paris. We also talk about how the reputation of the film’s twist ending, Christie’s Oscar legacy, and how Sutherland was never nominated for an Oscar ahead of his honorary win.



Topics also include David’s favorites of 1973, Jefferson Mays on Broadway, and the Oscar streaker.



Follow Us on Twitter!@Had_Oscar_BuzzJoe: @joereidChris: @chrisvfeilDavid: @davidlsims

BONUS – Sundance the Night (with Cameron Scheetz)

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