Next live podcast: Sunday, September 23rd, 2pm PST with Mike Spiegelman and Carl on mutinyradio.fm.

11/19/17 Episode 76: Gas-s-s-s! (1970)


Listen to Let's Watch A Full-Length Movie on YouTube podcast and watch Gas-s-s-s! (1970), aka Gas! -Or- It Became Necessary to Destroy the World in Order to Save It., embedded above, at the same time. Start with the podcast. Click here to launch the podcast in separate browser.


Roger Corman made movies for beatniks, bikers, and hippies, but by 1970, he made a youth culture movie for himself. The counterculture takedown Gas-s-s-s! (1970) promptly begins after a gas leak has killed all the Olds, leaving only the Youngs to survive. Corman's hippie kids wander beyond the movie setting of Dallas into the fringes beyond the film like characters from Jean-Luc Godard's Weekend (1967) (Despite the Kubrickian alternative title, it's influenced more by the French New Wave). 

Their encounters play like a series of comedy sketches juxtaposing extreme aspects of the Man and the Hippie. We meet Hell's Angels country club members, marauding collegiate footballers, and authoritative communes. The satire at best plays like Mad Magazine-era Harvey Kurtzman; at worst, like with the rape jokes, plays like Little Annie Fanny-era Harvey Kurtzman.

Speaking of Mad Magazine, movie ends with a mysterious van stopping and people wearing Papier-mâché heads of Abraham Lincoln, Dr. King, and Alfred E. Neuman exiting. I believe the next movie to feature a Alfred E. Neuman Papier-mâché head wound be in Mad Magazine Presents Up The Academy (1980). I could be wrong.

11/12/17 Episode 75: His Majesty, the Scarecrow of Oz (1914), The Wonderful World of Oz (1910), and Jokes My Folks Never Told Me (1978)


Listen to Let's Watch A Full-Length Movie on YouTube podcast and watch His Majesty, the Scarecrow (1914), aka The New Wizard of Oz, embedded above, at the same time. Start with the podcast. Click here to launch the podcast in separate browser.


The Wizard of Oz is beloved by generations but for different reasons. Our generation knows the landmark movie, and the countless variations derived from it, like the misogynistic Oz the Great and Powerful (2013). But the initial generation who embraced the 1900 book know a different story, mainly because the screenwriters of The Wizard of Oz (1939) took the aimless children's book and morphed it into the template of modern movie storytelling. The antagonism between Dorothy and the Wicked Witch, the "Surrender, Dorothy" sky-writing, the Witch's anticipation of Dorothy's visit, the hero's voyage - all conceits the movie added. The book has Dorothy visiting the Wizard, then getting the Witch's broom, then traveling elsewhere in Oz for its concluding chapters. Then the 13 subsequent sequels go off in crazy directions the movie never allude to. 

Author L. Frank Baum had a theater background and staged Oz adaptions to various degrees of success. Jumping into silent movies made sense, and the earliest one, The Wonderful World of Oz (1910), is embedded after the break. His Majesty, the Scarecrow of Oz (1914), written by Baum, is more batshit crazy. It begins gloriously with the grinning head of Dorothy wearing an Oz tiara then focuses on lesser-known characters like Mombi the Witch and Saw Horse. Wizard of Oz, Dorothy, Tinman (now a king), and others prance around until the end, where the Scarecrow reigns his own domain. The director is terrible at his job, which, apparently was to place the camera in one spot, regardless of framing. Co-Host Carl says Baum took original ideas from this movie and incorporated them into future volumes.

We promised in Episode 74 to watch a film that is unriffable. There's no way we can talk over Jokes My Folks Told Me (1978). It's a feature-length collection of reenacted bar jokes. It's for mature audiences (if you find bordello jokes mature) and is also after the break. 

011/05/17 Episode 74: National Lampoon's Going the Distance (2004)



Listen to Let's Watch A Full-Length Movie on YouTube podcast and watch National Lampoon's Going the Distance (2004), aka Going the Distance, embedded above, at the same time. Start with the podcast. Click here to launch the podcast in separate browser

Going the Distance - the Canadian movie, not the song by Cake - has three young male friends and two young female hitchhikers going the distance on a youthful road trip to Toronto. Nick, with the help of Tyler, Dime, Jill and Sasha, must stop Trish from dating Lenny even though Jill likes Nick. This occurs onstage during the 2003 Much Music Video Awards because the movie was produced in part by the Much Music Channel (now known as Much). VJ George Stroumboulopoulos appears and our heroes travel with 2002 Much Music Award winner Swollen Members. Dime even gets to hang out backstage with Avril Lavigne and the band Gob (lucky Dime!). The ending makes the whole movie feel like one long product placement for Much.

Then, in a final fit of ironic product placement, the movie was released on DVD in the United States as National Lampoon's Going the Distance. Carl and I must watch it, because we watch all the National Lampoon movies.

10/29/17 Episode 73: The Hitchhikers (1972)



Listen to Let's Watch A Full-Length Movie on YouTube podcast and watch The Hitchhikers (1972), embedded above, at the same time. Start with the podcast. Click here to launch the podcast in separate browser.


Beverly and Ferd Sebastian made several drive-in/grindhouse/direct-to-video movies during the Seventies and Eighties, but the first I've heard of them was when I stumbled onto their YouTube channel. They've posted an extremely generous collection of their full-length movies like 'Gator Bait (1974) and Rocktober Blood (1984). Check them out, let me know what a Rocktober is and why they bleed.

At the end of the YouTube video for The Hitchhikers (1972), present-day Ferd and Beverly explain that they are now born-again and Beverly volunteers time saving greyhounds. They seem nice, as well as their kids, who appear in their movies, but it's hard to notice watching the nasty Hitchhikers. Misty Rowe plays a young hitcher who gets raped (and has a miscarriage), then joins a Charles Manson-type and his horde of thieving thumb-wavers. They live in a cool ghost town but want to steal enough money to move to Los Angeles. Why? You live in a cool ghost town. They're unpleasant people, even if the film ends with a smiley face graphic.

This episode has hosts Carl and Mike in the studio together.

10/22/17 Episode 72: What Do You Say To A Naked Lady? (1970)

Listen to Let's Watch A Full-Length Movie on YouTube podcast and watch What Do You Say to a Naked Lady? (1970), embedded above, at the same time. Start with the podcast. Click here to launch the podcast in separate browser.

Candid Camera was (is!) a television juggernaut, omnipresent on both syndicated and prime-time television. It follows this formula: an unsuspecting bystander deals with outrageous behavior from a person or object; bystander reacts in a manner emotionally relatable to a television audience; prank and host are revealed; host tells bystander, "Smile! You're on Candid Camera!"; bystander reacts. This formula hasn't changed since its premiere in 1948.

The TV show began as a radio show called Candid Microphone, which is crazy to me since Camera is extremely visual. But that's even crazier is the theatrically-released X-rated movie version of Candid Camera called What Do You Say To A Naked Lady? (1970). Now, full-frontal nudity (ladies and gent) is added to its concocted scenarios designed to illicit mawkish reactions. My favorite is during the title prank, when one businessman offers the naked lady his coat.

The late Allan Hunt, creator and host of the radio, TV, and X-rated movie versions of Candid Camera, can't leave voyeurism alone. This is the only movie I've seen that includes footage of the test screening of the movie into the movie. Ultimately, it gives the film a structure, along with titled segments and original songs.

Oh, the songs! The talkative, narrative songs that explains what's going on! My second least favorite song from WDYSTANL? is about a tailor who touches the heinies of his customers; that song sounds derivative to Fiddler on the Roof, because, I'm imagining, all tailors are Jewish.

That leaves us to the humorous "rape" segment, where we watch a scripted scene of a camera crew filming a man making unwelcome advances to a woman in bed, interspersed with men leering at women. The accompanying song is done in the old-timey crooning style.

After the break, Joe Piscopo's classic Candid Radio bit.