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A guess where murder mystery one comes in on Kyle cliches list? Not knowing Kyle's taste, but seeing that email and getting a hint that I do think he appreciates, you know, he's not just this Adam Sandler's only good when he's working with Paul Thomas Anderson or the safdie brothers. Is not number one. I do remember that as I am, like I appreciate it early Sandler, Billy Madison, happy Gilmore. That's good stuff. So I'm going to say Kyle. What's that? One, two, Billy Madison happy Gilmore. Oh, well, okay, that's right. So for Kyle, I'm going to say murder mystery is the first one. Essentially. I'm going to say Kyle has it in the top third of his rankings. Yeah, not quite. He's actually got it exactly in the bottom. If my math is correct, murder mystery one. 41st out of 64, just ahead of murder mystery too. It's also just ahead of number 43, Paul blart, mall cop. Well, now I'm less excited about murder mystery too. And I also, do you think, and I say this again? As a longtime Sandler fan, do you think Kyle serious? I spent a lot of time thinking about that. Because it certainly started out as one of those emails. We get from time to time taking us to task appropriately for something. And then as I saw, he put in the work the ranking and all the work I don't know. I mean, he did say godspeed and please allow yourselves to understand the beauty, humanity and joy of the Sandler cinematic universe only rivaled by the likes of fellini Scorsese godar and tarkovsky. So you tell me if Kyle serious or not. Either way. We'll never know. Kyle. Will you appreciate the feedback? For complete madness details, go to film spotting madness dot com or film spotting .NET slash madness, the tenth anniversary of madness will return in some form in 2024. So stay tuned for announcements about the subject of that tourney and it's accompanying short list of titles again film spotting madness dot com. Thank you everyone for playing. He's a guy. Best dinosaur? Yeah? Feel like Jordan's version of don't say cadence is even normal. Less than our right. Reasons you. Ish. Yeah? It should feel doesn't it count. A lot of the cognitive. We get back into our Sight & Sound top 100 blind spots marathon with that clip. In early scene, between brigitta Mira's Emmy and el Hadi Ben Salem's Ali in Rainer Werner fassbender's Ali fear eats the soul. Fassbender's film came in at number 52 on the 2022 Sight & Sound list. It tied with chantel Ackerman's news from home and was right between Jane campions, the piano there at 50 and then 5 films tied at 54. Those included Billy Wilder's the apartment, Buster Keaton's Sherlock junior and Ridley Scott's Blade Runner. Fear eats the soul was the only fossil film to make the sight and soundless, but the director has long been a marathon candidate of ours, foss bender died in 82 at the young age of 37 but in a short career he made over 40 feature films along with shorts, TV programs, and stage plays. Fear eats the soul comes somewhere in the middle of that imposing filmography. The film debuted in Germany in early 1974 before playing that year's Cannes Film Festival and making it to the U.S. later that year. Coincidentally, the film is a remake of Douglas sirk's 1955 melodrama all that heaven allows. CERC was the subject of our previous marathon conversation Adam. We reviewed imitation of life, just a couple of weeks ago. Now where all that heaven allows feature Jane Wyman's wealthy widow scandalizing her suburban community when she falls for Rock Hudson's young bohemian arborist, fassbender, takes that central may December romance and moves it to working class Munich. And it does center on the middle aged widow Emmy, a cleaning woman who becomes romantically involved with Ali, a much younger Moroccan immigrant who goes by Ali just because that's what all the Germans are going to call him anyway. Their early happiness is soon challenged by coworkers, neighbors, and family, including Emmys grown children, all who disapprove of the relationship. Now, Adam in relation to that CERC reference, we've mentioned a couple of times how, especially for marathon, movies and filmmakers, we like to check out ephraim Katz's the film encyclopedia and get a little background. And so after watching fear eats the soul, I did that for fast spender and imagine my surprise when I did see this. Some critics have compared his work with that of France's Jean-Luc Godard, while others have also detected the influence of the American cinema of the 50s and particularly the films of Douglas cirque. I'm gonna admit, didn't immediately jump out to me while watching fear eats the soul atom. But once I read that, I started to think about it and thought, okay, I can totally see what's happening here. How did the cirque influence work for you? Well, in all that heaven allows, it's only class that divides them. That's part of its elegance. And it's potency. Fastbender amplifies. All of the oppressive forces that conspire against this couple without compromising either. We have now a character who's black, she's white. He's a foreigner, as you said, and that comes with its own host of mistreatments. It's set in Germany. We're not too far removed from Hitler and the Nazis. Hitler's invoked a couple of times. A couple times. The attempted genocide of the other. And we've got Ali here as another. And it's also set in Munich right after the Munich Olympics massacre, that tragedy in 1972, which is also referenced, and that, of course, just heightened distrust in hatred for Arabs in Germany at the time. So you've got all of these elements swirling against these characters. And I love how we have Emmy and Ali somehow still just rushing into it and saying, we're happy and our happiness is all that should matter. And they seem almost oblivious at times. To the reaction that their relationship is having on other people. Until they can no longer be oblivious to it, until that confrontation is right there in their face. And I think in that way, and certainly later in the film, this becomes even more apparent, the movie takes on an almost fairytale like quality. Despite being so entrenched in 1970s Munich and seeming to reflect the politics and the attitudes of the culture at the time, you have this element where the characters return from a vacation to Stein Z and it's exactly the catalyst for change in perception that she told him that Emmy told him it would be. Watch, we'll go on vacation and we'll come back. And you don't really believe her because why would change? Why would these attitudes change? And it's almost as if phosphate or has the universe say, be careful what you wish for. Actually, yes, things could change, but these forces are too big and too oppressive and even if they change somehow around you, you're going to change. There's a sense of pessimism and some doom around these characters, and yet there's also somehow. And I think this is really the magic of the film.

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