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For our January Special Subject, we look at three silent "family comedies" by Ozu, Tokyo Chorus\xa0(1931),\xa0I Was Born, But...\xa0(1932), and\xa0Passing Fancy\xa0(1933), although\xa0we argue that "comedy" doesn't entirely encompass the emotional range of these films. We argue that the melancholy of late Ozu is already discernible in these tales of father-son conflict and confrontation with life's disappointing nature, although\xa0Passing Fancy\xa0offers a different kind of father-son relationship and unique brand of comedy. Then in Fear and Moviegoing in Toronto, we discuss Robert Rossen's\xa0The Hustler\xa0as a blacklisting allegory and the cinematic pyrotechnics of Brian De Palma's\xa0Snake Eyes.\xa0

Time Codes:

0h 00m 45s:\xa0\xa0\xa0\xa0\xa0 TOKYO CHORUS (1931) [dir. Yasujiro Ozu]

0h 26m 53s: \xa0\xa0\xa0\xa0 I WAS BORN, BUT\u2026 (1932) [dir. Yasujiro Ozu]

0h 38m 36s:\xa0\xa0\xa0\xa0\xa0 PASSING FANCY (1933) [dir. Yasujiro Ozu]

0h 57m 41s: \xa0\xa0\xa0\xa0 Fear and Moviegoing in Toronto \u2013 The Hustler (1961) directed by Robert Rossen & Snake Eyes (1998) directed by Brian De Palma

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* Listen to our guest episode on The Criterion Project \u2013 a discussion of Late Spring

* Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s

* Intro Song: \u201cSunday\u201d by Jean Goldkette Orchestra with the Keller Sisters (courtesy of\xa0The Internet Archive)

* Read Elise\u2019s piece on Gangs of New York \u2013 \u201cMaking America Strange Again\u201d

* Check out Dave\u2019s Robert Benchley blog \u2013 an attempt to annotate and reflect upon as many of the master humorist\u2019s 2000+ pieces as he can locate \u2013 Benchley Data: A Wayward Annotation Project!\xa0

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