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It's very difficult to keep the line between the past and the present.

You believe that someone out of the past can enter and take possession of a living being?

We may be true with the past, but the past is not through with us.

Welcome to the next picture show, a movie the week podcast devoted to a classic film and how it shaped our thoughts on a recent release.

I'm Scott Tobias here with Keith Phipps.

Genevieve Kosky and Tasha Robinson.

So last week, I had the pleasure of heading out into a rain, slicken, noir evening and seeing a 35-millimeter print of the new Edgar Wright film last night in Soho of

the music box theater here in Chicago, along with a nice crowd of fully vaccinated people.

And I thought, there's no better time to be alive than in the year 2021. I think we can all

agree on that, right? And yet, and yet, like Thomas and McKinenzie in that movie i couldn't help but fantasize about going back in

time to the 1960s stepping into an old-fashioned single-screen movie palace and experiencing some of the

great films of the period when they came out well yeah we yeah, we just did Lawrence of Arabia last week. It

would have been pretty special to see the premiere of that one. And from that same time period, you got the huge influx of movies from the French New Wave, like Breathless and Jules and Jules and Jim, and Fleunie's 8 and a half, and LaDolcea, plus Buneo and Antonioni. Yeah, I could imagine being there for the first showing of 2001 of Space Odyssey, or Kurosawa's Ujimbo and high and low, or the good, the bad, and the ugly, for that matter.

Then there's Red Line 7,000, pocketful, miracles, Skadu.

Hold up. Howard Hawks, Frank Capronauta, Primerger are all great directors, but even their most ardent defenders would never consider those among their best films.

...