Advertise on podcast: You Must Remember This

With Red River, Montgomery Clift becomes a new kind of movie star, projecting a new kind of sexuality – while still figuring out how he wants to express his own sexuality. Meanwhile, Libby becomes entangled with bisexual couple Jane and Paul Bowles, whose globetrotting becomes an inspiration to Libby’s teenage son, ending in tragedy. Plus: did Libby forbid Monty from starring in Sunset Boulevard because the story of a young man and a haunted older woman hit too close to home? (00:00) Affair with Nick Ray and Influence on Key Largo (09:42) Digging Deeper into Black Folk Music (14:32) Jane and Paul Bowles (25:00) The Tragedy of Libby’s Son, Topper (32:15) Montgomery Clift’s Bisexuality (40:34) Red River as Queer Melodrama (48:53) The Heiress and Monty Reconnects with Libby (57:48) Did Libby Bar Monty From Starring in Sunset Boulevard?

Montgomery Clift enters the chat as a teenage acting prodigy who immediately attracts 34 year-old Libby’s attention. Through her sometime-lover Nicholas Ray, Libby starts exploring Black folk music, launching a new singing career in collaboration with guitarist Josh White (“One Meatball”). Plus Libby’s old friend Clifton Webb becomes a late-in-life, closeted movie star, and Tallulah – effectively banished from Hollywood a decade earlier due to her refusal to be discreet about her sexuality – triumphantly returns to the screen thanks to Alfred Hitchcock. (00:00) Libby and Monty “Under the Sheets” (03:51) Appreciation or Cultural Appropriation? (06:23) Nicholas Ray, Leadbelly, Josh White (13:24) No White Person Has Ever Sung Them in Public (22:02) Everybody is in Love With Monty (28:44) Tallulah Bankhead in Movie Jail (36:13) Lifeboat (40:20) Clifton Webb’s Queer Success Story (45:46) Libby Lashes Out at Older Women (51:08) The Black Widow and Josh White (58:45) Libby’s Only Movie

While the racist, antisemitic Southern authorities try to indict a pregnant Libby for the murder of her husband, the national media effectively puts her on trial. When Libby gives birth to a new Reynolds heir, the circus only grows bigger. Meanwhile, Hollywood gets to work dramatizing the case with the aid of stars such as Claudette Colbert, Jean Harlow and Libby’s friend Franchot Tone. (00:00) A Pre-Code Anti-Heroine (04:53) A “Peculiar Opinion” of Jews (11:09) Libby Testifies (17:23) Indicted by Jury, Convicted by Media (29:09) Who Actually Killed Smith Reynolds? (34:19) Pre-Code Movies Inspired by Libby’s Story (42:50) A Career Tainted by Scandal (52:38) Jean Harlow as Libby Holman (01:02:02) An American Tragedy (01:09:11) Lupe Velez, Libby’s Nemesis

While riding a crest of Broadway stardom – and in a serious romance with a woman – Libby is pursued by Zachary Smith Reynolds, the reckless, emotional teenage heir to the Camel tobacco fortune. Just months after their marriage, at the close of a drunken party, Reynolds is dead of a gunshot wound to the head. Was Libby responsible? Also: Tallulah Bankhead is brought to Hollywood to compete with bisexual icon Marlene Dietrich, while Libby, no stranger to blackface, wants to star in a film about Josephine Baker. (00:00) Libby’s Heiress Girlfriend (13:15) Libby’s Tobacco-Heir Boyfriend (19:25) Tallulah Bankhead & the Gary Cooper Threesome (37:16) Libby Tries to Play Josephine Baker in Movie (43:56) A Yankee Jewess on the Plantation (54:36) Who Shot Zachary Smith Reynolds?

Libby Holman, a Jewish girl from Cincinnati, arrives in Manhattan in 1925 and begins to make a name for herself as a torch singer, trading on her racially-ambiguous skin tone and deep voice at a time when white hipsters think the height of cool can be found in Harlem. Libby and friends like Tallulah Bankhead sojourned uptown not just to listen to Black music, but also to explore their bisexuality. Through mutual co-star Clifton Webb, Libby meets Jeanne Eagels – one of the greatest actresses of her generation, and a high-profile casualty of Roaring 20s debauchery. (00:00) Torch Singer, Accused Murderess, Bisexual (09:05) A Confederate Jew (17:53) Sex Appeal to Burn (25:59) “Coon Shouting” and Libby’s Racial Ambiguity (41:32) Blackface on Broadway with “Moanin’ Low” (49:10) Sex Tourism in Harlem (58:28) Jeanne Eagels

Listen to a trailer for The Bisexuals, the new season of You Must Remember This, coming September 15. A sultry, racially-ambiguous singer who became a sensation on Broadway in the late 1920s and 30s, Libby Holman popularized a number of jazz and blues standards of the Great American Songbook. At the height of her fame, Holman shocked her mostly queer coterie by marrying the heir to the Camel cigarettes fortune. Within months, Libby’s husband was dead, and Libby was accused of his murder. The ensuing scandal marked the star as a “black widow,” and in the years to come, a number of friends and lovers who drifted into Libby’s web wound up dead. The most famous of these was Montgomery Clift, who like Libby was bisexual, struggled with substance abuse, and felt misunderstood within a pop culture that increasingly demonized anyone who didn’t fit neatly into the post-WWII American ideal.  Over 8 episodes – with a cast of characters including Elizabeth Taylor, Josephine Baker, Tallulah Bankhead, Billie Holiday, Jane and Paul Bowles, Nicholas Ray and more – The Bisexuals will begin by describing Libby’s rise to stardom, and her sexually-fluid social life, in the New York theater scene of the 1920s. From there we’ll explore the murder scandal that transitioned her from fame to infamy in the 1930s. Then, we will skip to the 1940s and 50s, and a very different climate than the free-wheeling 1920s when Libby Holman thrived. The cultural pendulum had swung back the other way, and there was no possibility for a movie star like Monty Clift to be openly queer. By the time the social and sexual revolutions of the 60s began to be felt, both Libby and Monty were too deeply scarred by trauma, stigma and addiction to benefit.

This episode was originally released on December 1, 2015. Listen to help prep for the next episode of our new season, The Old Man is Still Alive. Lana Turner, the legendary "Sweater Girl" was one of MGM’s prized contract players, the epitome of the mid-century sex goddess on-screen and an unlucky-in-love single mom off-screen who would burn through seven husbands and countless affairs. After nearly twenty years as a star not known for her acting prowess, Turner's career suddenly got interesting in the late 1950s, when the hits The Bad and the Beautiful, Peyton Place and Imitation of Life sparked a reappraisal of her talents. In the middle of this renaissance, Turner became embroiled in one of Hollywood history’s most shocking scandals: the murder of Turner’s boyfriend Johnny Stompanato at the hand of her 14 year-old daughter, Cheryl Crane.

In the 1960s, many American directors saw their fortunes turn after they notched massive hits. In the case of Howard Hawks – a director who had thrived in virtually every Hollywood genre since the late silent era– the undisputed masterpiece of Rio Bravo gave way to four poorly-received efforts, each of which bared the marks of a dying studio system, if they weren’t compromised by the literal dying off of the previous generation of stars. In the middle of this run, Hawks made Red Line 7000, a car racing drama which was at once familiar and personal to Hawks, and also totally foreign in that it was a movie set in the 1960s, infused with ‘60s sexual politics, and built around future New Hollywood star James Caan.  (00:00) Intro(01:33) The Auteur Theory(10:53) Hawks the Man's Man and the Hawksian Woman(15:03) Need for Speed(18:20) William Faulkner in Ancient Egypt(21:45) Megalomania(26:38) European Exile(29:03) Rio Bravo(32:11) On Safari for Hatari!(38:16) Man's Favorite Sport(42:25) Hawks's Sexual Revolution Movie(51:42) The Worst Night of Hawks's Professional Life(54:36) El Dorado(57:43) Accusations of Manipulating/Abusing Women(01:03:49) "It must be a nation of morons."(01:09:09) Hawks Dies After Tripping Over Dog

This episode was originally released on September 9, 2014. Listen to help prep for the next episode of our new season, The Old Man is Still Alive. Humphrey Bogart is perhaps the most enduring icon of grown-up masculine cool to come out of Hollywood’s first century. But much of what we think of when we think of Bogart — the persona of the tough guy with the secret soft heart, his pairing on-screen and off with Lauren Bacall — coalesced late in Bogart’s life. Today we take a look at how Humphrey Bogart became Bogey, tracing his journey from blue blood beginnings through years of undistinguished work and outright failure (both in the movies and in love), to his emergence in the early 1940s as a symbol of wartime perseverance who could make sacrifice seem sexy. Finally, we’ll look at what it took to get him to take the leap into a fourth marriage that seemed to saved his life … until the world’s most glamorous stoic was faced with cancer.

Born in the 19th century, his career forged in the silent era, John Ford helped to invent the genre of the Western and still holds the record for the most Best Director Oscar wins of all time. Though he made films in all genres, and sometimes even tackled the same historical territory from different angles in different films, Ford had by the 1960s become synonymous with depictions of American history that honored maverick white men, while often villainizing, distorting or erasing Native Americans. In this episode, we will talk about the influence of Ford’s last masterpiece, The Man Who Shot Liberty Valance, and will look at Ford’s last two films, which to some extent feel like “mea culpas” for the offenses of his earlier career: the revisionist Western Cheyenne Autumn, and the female-centric adventure film 7 Women. (00:00) John Ford, Master of Manifest Destiny (07:59) John Ford, Joan Didion and John Wayne (15:37) Honorary Navajo in Monument Valley (36:22) Printing the Legend (41:22) Hawaiian Holiday (46:37) The "Mea Culpa" Era (58:47) Noble Failure or Turkey? (01:01:30) A Liminal Lesbian Classic (01:10:01) "I don't like porn!"

This episode was originally released on June 3, 2020. Listen to help prep for the next episode of our new season, The Old Man is Still Alive. After the death of her first husband and creative partner, Polly moves to New York, where she swiftly meets and falls in love with Peter Bogdanovich. Together Polly and Peter build a life around the obsessive consumption of Hollywood movies, with Polly acting as Peter’s Jill-of-all-trades support system as he first ingratiates himself with the previous two generations of Hollywood auteurs as a critic/historian, and then makes his way into making his own films. Together, Polly and Peter write and produce Targets, Bogdanovich’s first credited feature, and also collaborate on a documentary about the great director John Ford. By the time Polly gives birth to their first daughter, she believes she and Peter are an indivisible, equal creative partnership — regardless of how credit is distributed in Hollywood.

In the mid-1930s, Fritz Lang fled Hitler and left a successful film career in Germany behind to come to America. After a 20 year career in Hollywood, Lang went back to a much-changed Germany to make two films that he had first developed in the 1920s, set in India but largely cast with non-Indian performers in brownface. Even Lang’s collaborators were concerned that these films, The Tiger of Eschnapur and The Indian Tomb, were politically incorrect and out-of-date. How did the director behind some of the most influential films ever made end up here, and how can we understand his late movies – and his appearance as himself in Jean-Luc Godard’s Contempt – as the culmination of all that came before? (00:00) Fritz Lang (05:30) Femmes Fatale (15:28) Was Lang Blacklisted? (23:15) Marlene Dietrich and Baseball (30:40) Newspaper Noir (41:42) Fetishizing India in Post-Nazi Germany (51:30) A World-Class Troll (01:02:03) The Return of Mabuse (01:09:22) Lang and Godard

The director of It’s a Wonderful Life, who won five Oscars in the 1930s for films that embodied the pre-World War II notion of American exceptionalism, was pushed into semi-retirement by the early 50s by changes in tastes and political priorities. Capra was brought back to the Hollywood director’s chair by Frank Sinatra in the 1960s, but Capra quickly became embittered by an industry that he felt had left him behind, and in 1971 published an autobiography airing grievances about an industry that he believed was “stooping to cheap salacious pornography in a crazy bastardization of a great art to compete for the 'patronage' of deviates and masturbators.” (00:00) Introducing The Old Man is Still Alive (02:11) Frank Capra (06:22) Antisemitism and Adult Circumcision (11:59) Fascism vs. Communism (19:53) Propaganda (21:55) It's A Wonderful Life (26:22) Naming Names (37:15) "The new look in conformity" (01:02:03) Hitting Bottom

This episode was originally released on March 1, 2016. Listen to help prep for the next episode of our new season,The Old Man is Still Alive. In the late 1940s, as the country was moving to the right and there was pressure on Hollywood to do the same, Katharine Hepburn, Humphrey Bogart and John Huston all protested HUAC in ways that damaged their public personas and their ability to work in Hollywood. Hepburn’s outspokenness resulted in headlines branding her a "Red" and, allegedly, audiences stoning her films. Bogart and Huston were prominent members of the Committee For the First Amendment, a group of Hollywood stars who came to Washington to support the Hollywood Ten -- and lived to regret it. With their career futures uncertain, the trio collaborated on the most difficult film any of them would ever make, The African Queen.

A preview of the new season of You Must Remember This, which covers the late careers of Alfred Hitchcock, John Ford, Howard Hawks, Vincente Minnelli and ten other directors who began their careers in the silent or early sound eras, and were still making movies in the 1960s, ‘70s and ‘80s, in spite of the challenges posed by massive cultural changes and their advanced age. In this mini-episode we’ll discuss the parallels between this history and today, from the tech industry takeover of Hollywood to the late work of Coppola and Scorsese; the interview with George Cukor that inspired the title of this season; the Orson Welles-Peter Bogdanovich-Quentin Tarantino connection that informs the way we think about “old man” movies, and much more.