Welcome to the 16th episode of The Leftover Popcorn Podcast! This week’s episode sees us discuss our two favorite Alfred Hitchcock films: Rear Window and Vertigo.
Leftover Popcorn is a weekly podcast dedicated to the world of moving pictures. Co-hosts Adam McGee (that’s me) and Andrew Snyder share a passion for everything, both weird and wonderful, from the world of television and cinema, and as such we’ll be discussing an eclectic mix of topics in the weeks and months to come.
The podcast itself is built with a very simple structure, with the hosting duties shared, each episode is built around a mixture of three or four regular segments. The segments rotate from week to week leaving discussion open to new releases in film and or TV, classics from both the big and small screen, broader discussions on influential figures and their work, previews of upcoming releases, and more.
Each segment is named after a quote from a movie or TV show that feature as a regular segue in our show, and hopefully will become familiar to you in time.
Anyway, that’s enough of an overview, let’s move on to what we have in store for you this week.
Warning: This podcast contains spoilers!
Intro: 0:00 – 03:20
Rear Window: 03:21 -36:01
Vertigo: 36:02 – 1:19:34
Wrap-Up: 1:19:35 – End
Before you dive in and start listening, let’s take a closer look at the subject of this week’s main segments.
Rear Window (1954) – Alfred Hitchcock
A unique mystery and thriller starring Hollywood titans like Jimmy Stewart and Grace Kelly, Rear Window unfurls a story of a murder in a small inner-city apartment block from the perspective of a window on the other side of the courtyard.
A treatise on voyeurism and a metaphor for the cinema experience itself, rarely has Hitchcock been so creative, building so much out of so little.
Vertigo (1958) – Alfred Hitchcock
Another Hitchcock/Stewart vehicle, Vertigo is a story of love, identity, lineage and deception told on a grand visual scale against the backdrop of the San Francisco area.
Including career-best performances from Stewart and Kim Novak, quotable lines, and endless moments that are now deeply entrenched in the language of pop culture, Vertigo could be Hitchcock’s masterpiece but at the very least it’s likely the most true to himself he’s ever been.
Be sure to return next week when we discuss All the President’s Men, Zodiac and Spotlight under the theme of print media portrayal in cinema.
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