Support our Patreon! All Pink Smoke Podcast episodes are made available a week early to our Patreon subscribers, the most open-minded and good-natured of all audiences: Popcorn Eschaton! I Don't Get It Podcast The Pink Smoke site: John Cribbs on Twitter: /TheLastMachine The Pink Smoke on Twitter: /thepinksmoke Intro music: Unleash the Bastards / “Tea for Two” Outro music: Marcus Pinn / “Vegas"ġ988 saw the release of two action movies that have become classics of the genre, both of which just happen to have been made by directors named "John" and feature heroes named "John." In a bit of shameless gimmickry, The Pink Smoke's John Cribbs has recruited fellow "John," frequent guest and action movie enthusiast John Arminio for a Patreon-exclusive dive into John McTiernan's Die Hard and John Carpenter's They Live. In Part One, we cover the 1920's through the 1970's which includes one epic silent masterpiece, various adventures set behind enemy lines during the war of nations, intimate stories of British citizens who exploit governments for personal gain, human dramas about moral degradation behind the Iron Curtain and post-Watergate paranoid thrillers. From the years leading to World War II through the Cold War and up to the modern age of counterintelligence in the time of domestic terrorism and the internet, we recruited agents John Arminio (co-host of Popcorn Eschaton!) and Bill Scurry (co-host of I Don't Get It) to analyze these cloak-and-dagger tales and what they have to say about the excitement and morality of the spy profession. ![]() Starting in the 1920's, we chose one notable spy movie (as well as a few alternate picks) for each decade leading to our present day in order to decode how they reflect the history and pop culture of their respective epoch. The Pink Smoke is coming in from the cold to debrief our listeners on 100 years worth of espionage thrillers. Support our Patreon: The Pink Smoke site: The Pink Smoke on Twitter: /thepinksmoke Christopher Funderburg on Twitter: /cfunderburg John Cribbs on Twitter: /TheLastMachine Intro music: Unleash the Bastards / “Tea for Two” Outro music: Marcus Pinn / “Vegas” Both movies are fun, sad, sexy and poetic as any great French crime film, but most importantly they help establish the difference between a gentleman and a pimp. They compare it to Verneuil's later film, which also features Alain Delon as a (gorgeous) young thug enlisted by Gabin to heist a seaside casino. ![]() ![]() ![]() Eyeing longtime Pink Smoke favorite Grisbi like a coveted bar of gold, the guys question why it's so difficult to contextualize such an obvious masterpiece, its director's place in cinema history and what the movie is really about. Playing aging gangsters intent on making off with that last big score, the legendary leading man slipped into these late-career roles like a comfy pair of silk pajamas - and looked amazing in those pajamas, too. It’s always been there.” It's a “Jean Gabin is getting too for this shit” double feature! On this episode, hosts Christopher Funderburg and John Cribbs discuss two unforgettable French crime films: Jacques Becker's Touchez pas au grisbi (1954) and Henri Verneuil's Any Number Can Win (1963), both starring the grandfather of quiet cool, M.
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