"Mommy Dearest Review – No More Wire Hangers!"

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[SPEAKER_00]: What's up with you, Lovers?

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[SPEAKER_00]: It's your girl Rossi and I'm back tonight.

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[SPEAKER_00]: Would it really good film?

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[SPEAKER_00]: I love the book, but I also love the movie, Mommy Dearest.

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[SPEAKER_00]: If you guys haven't seen Mommy Dearest, you've got a string that I stringed it on YouTube.

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[SPEAKER_00]: It is such a good movie and I have to say that fate, otherwise, portrayal of Donald Potter and just the acting in this film was amazing.

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[SPEAKER_00]: Amazing.

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[SPEAKER_00]: It was really good.

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[SPEAKER_00]: I have looked me tonight though I have a man that took with me.

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[SPEAKER_00]: You guys know a man that took them, she's been here before we did.

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[SPEAKER_00]: Man, what was though?

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[SPEAKER_00]: One we did, the really good one that we did a few months ago.

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[SPEAKER_00]: What was that one we did?

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[SPEAKER_00]: Papermoon, and then we did, let's Taylor.

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[SPEAKER_00]: Oh my gosh, you guys really liked it.

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[SPEAKER_00]: We got really good.

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[SPEAKER_00]: Virginia Woolf.

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[SPEAKER_00]: Yeah, who's afraid of Virginia Woolf?

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[SPEAKER_00]: That's right.

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[SPEAKER_00]: That one was really good.

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[SPEAKER_00]: So what Amanda and I do is we like to bring you movies that maybe you haven't seen in years, classics, or something just really good as as current as

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[SPEAKER_00]: Mommy dearest which came out and like I think eighty four around that time and so we like to bring really good really good classical movies to you guys okay so we're doing mommy dearest tonight you guys know Amanda Cook I'm gonna let her introduce herself Amanda tell them about what you do and please mention a project that you just finished that was

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[SPEAKER_00]: Amazing.

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[SPEAKER_00]: Every time I will see the clothes that I've read the other way was wearing, I thought about you and the clothes that you made for seriously.

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[SPEAKER_00]: I'm like a man that could do that.

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[SPEAKER_02]: What's up?

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[SPEAKER_02]: I'm Amanda Taylor, I'm an artist, musician.

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[SPEAKER_02]: I am work at direct message studios.

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[SPEAKER_02]: We recently wrapped a project called Cassie Workman is which he is.

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[SPEAKER_02]: It is currently being shot around for a home.

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[SPEAKER_02]: I don't know what you can see it, but the hundreds of turning out fits for puppets, spitting all kinds of aras.

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[SPEAKER_02]: And I never done that before, so it was quite an exciting adventure.

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[SPEAKER_00]: It was awesome.

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[SPEAKER_00]: So I work at DM.

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[SPEAKER_00]: I'm a contract worker there.

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[SPEAKER_00]: I do some hand modeling.

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[SPEAKER_00]: I do some production assistant, but I didn't work on this project that they worked on, but I got to see the behind the scenes of everything being made and seeing Amanda just

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[SPEAKER_00]: make costumes for these little dolls that were incredible.

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[SPEAKER_00]: They were amazing.

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[SPEAKER_00]: So when I was watching Mommy Dearest, and you know, faith don't always clothing.

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[SPEAKER_00]: I mean, the clothes that Joan Crawford wore beautifully.

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[SPEAKER_00]: I mean, they're beautiful gowns, pants, suits.

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[SPEAKER_00]: And I thought about you Amanda.

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[SPEAKER_00]: I thought about you because I'm like, Amanda can make that.

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[SPEAKER_00]: She was making things like that for her.

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[SPEAKER_00]: Like, seriously, no, she's amazing.

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[SPEAKER_00]: She's absolutely amazing, very humble, but I thought about you.

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[SPEAKER_00]: Anyways, so a little bit about mommy dearest.

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[SPEAKER_00]: So Joan Crawford adopted, she wasn't able to have kids and she really wanted kids.

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[SPEAKER_00]: So she adopted a little girl.

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[SPEAKER_00]: Her name was a, she called her Tina, Christina.

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[SPEAKER_00]: And then she adopted a little boy.

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[SPEAKER_00]: And then somewhere years after that, she also adopted two little girls.

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[SPEAKER_00]: And, and Amanda's gonna tell you the story about that a little bit once we get

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[SPEAKER_00]: reviewing the film.

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[SPEAKER_00]: So anyway, it's a Joan Crawford, a doctor Christina, and June of nineteen forty.

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[SPEAKER_00]: She was single at the time.

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[SPEAKER_00]: The adoption took place during agency and Las Vegas.

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[SPEAKER_00]: California at the time did not allow single people to adopt kids.

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[SPEAKER_00]: It doesn't matter how rich you are as a single woman.

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[SPEAKER_00]: You just weren't able to do that, which is crazy, but whatever.

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[SPEAKER_00]: Let's see, the child was named Joan, but Crawford later changed her name to Christina.

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[SPEAKER_00]: Christina writes this book, Mommy Dearest, and exposes Joan Crawford to be an abusive, mentally abusive, narcissistic mother.

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[SPEAKER_00]: And so when the film starts, we've seen this before, but when the film starts, what did you think just of the look, the time date that they did?

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[SPEAKER_00]: What was your first impressions?

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[SPEAKER_02]: I think what's really cool about the start of the movie is you don't see her face for a couple of minutes.

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[SPEAKER_02]: It's really like medicine like she's a ice bath and you know, when you finally see her, it's this big reveal.

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[SPEAKER_02]: So it starts just so intense already, or like this is a monster movie like this reveal of this woman, right?

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[SPEAKER_02]: Crazy skin regimen.

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[SPEAKER_02]: Yeah.

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[SPEAKER_00]: When I, my first impressions, because I remember being really excited about watching Mommy Duries a little bit after it came out.

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[SPEAKER_00]: And so it is the same thing.

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[SPEAKER_00]: They're not shown her face.

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[SPEAKER_00]: They're showing this ice bath.

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[SPEAKER_00]: And then when she turns around and you get a glimpse of her and you see her,

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[SPEAKER_00]: For me, it's like, wow, they really did a good job of making her look like Joan Crawford like.

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[SPEAKER_00]: And she has this pause.

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[SPEAKER_00]: That she just looks at the camera.

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[SPEAKER_00]: There's this pause because they really want you to see her as Joan Crawford.

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[SPEAKER_00]: And you see that.

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[SPEAKER_00]: And then she's going off to a set to do a film.

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[SPEAKER_00]: Joan Crawford, she appeared in over fifty films throughout her career ranging from silent films.

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[SPEAKER_00]: to talk to these dramas and even horror films.

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[SPEAKER_00]: And I think we should review her.

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[SPEAKER_00]: a horror film that she did.

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[SPEAKER_01]: Anyways, yes.

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[SPEAKER_00]: Betty Davis.

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[SPEAKER_00]: Yes.

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[SPEAKER_00]: Yes.

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[SPEAKER_00]: Yes.

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[SPEAKER_00]: Yes.

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[SPEAKER_00]: It was called, uh, it's on her son.

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[SPEAKER_00]: Anyways, Charlotte's, there you go.

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[SPEAKER_00]: There you go.

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[SPEAKER_00]: Yes.

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[SPEAKER_00]: We should do that one.

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[SPEAKER_00]: I love that film.

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[SPEAKER_00]: But she did Mildred Pierce in which she won an Oscar for that.

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[SPEAKER_00]: Um, whatever happened to Baby Jane.

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[SPEAKER_00]: There you go.

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[SPEAKER_00]: Johnny Guitar, the women, Grand Hotel.

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[SPEAKER_00]: Um, she also starred in several films with Clark Gable.

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[SPEAKER_00]: possessed and a strange cargo.

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[SPEAKER_00]: So she was Hollywood royalty.

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[SPEAKER_00]: I mean, she was out during a silent era of films.

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[SPEAKER_00]: So to see the costumes that they used, the clothing that she wore, the set design was just beautiful.

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[SPEAKER_00]: Her mansion was

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[SPEAKER_00]: gorgeous and I love the when she would stand at the top of the banister and just turn around after she got Christina I mean everything you remember what she said yes so she's dating this this lawyer who's a big wig and Hollywood

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[SPEAKER_00]: Hollywood lawyer.

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[SPEAKER_00]: And she tells him like, you know, I'm just, I don't feel fulfilled.

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[SPEAKER_00]: I, I, she's had like a, I think she lost seven babies.

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[SPEAKER_00]: So she wasn't able to have kids and she really wanted to have a kid.

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[SPEAKER_00]: But what Joan Crawford, I mean,

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[SPEAKER_00]: You're not knowing who she's going to be.

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[SPEAKER_00]: You kind of feel for her that she wants kids and she does the adoption agency.

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[SPEAKER_00]: What do you think when she goes there?

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[SPEAKER_00]: Thanks because she's shown Crawford.

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[SPEAKER_00]: She's going to get a kid and told absolutely not.

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[SPEAKER_02]: You know, it's sad.

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[SPEAKER_02]: She clearly, um, yeah, she clearly has everything she wants gets everything like everyone she wants.

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[SPEAKER_02]: So

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[SPEAKER_02]: You know, she's pretty shocked.

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[SPEAKER_00]: Right.

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[SPEAKER_00]: Yeah.

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[SPEAKER_00]: And of course, this lady out goes off on the way.

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[SPEAKER_00]: I mean, that means totally goes off on the lady.

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[SPEAKER_00]: Anyways, being at her boyfriend, pretty powerful.

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[SPEAKER_00]: Basically, I took that he bought the child.

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[SPEAKER_00]: I mean, he had the pay.

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[SPEAKER_02]: Yeah.

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[SPEAKER_02]: Yeah.

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[SPEAKER_02]: Under the table.

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[SPEAKER_00]: Yes, very.

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[SPEAKER_00]: Yes.

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[SPEAKER_00]: So she gets Christina and she's so happy like Amanda said, very dramatic, you know, holding a baby, taking a baby upstairs, making this, this, this grand leaving up the stairs, you know, turning around and this beautiful gown because I have to say all of her clothing was just

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[SPEAKER_00]: beautiful.

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[SPEAKER_00]: I mean, beautiful clothing.

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[SPEAKER_00]: I mean, very classy looking woman.

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[SPEAKER_00]: I must say, but she had a thing for cleanliness, like she had some type of OCD thing going on where everything had to be clean and the getting ready for the child to come over that scene with her poor housekeeper.

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[SPEAKER_02]: Yeah, I'm not mad at you.

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[SPEAKER_02]: I'm mad at the dirt.

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[SPEAKER_00]: But dude, she will go around and like go over their work.

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[SPEAKER_00]: And so you're getting an early sense of okay.

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[SPEAKER_00]: Some things not right with her, you know, but people are clean.

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[SPEAKER_00]: I mean, she goes around and white-flops everything, you know, making sure and then she moves the vase with the plant and loses it.

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[SPEAKER_00]: I mean, absolutely loses it.

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[SPEAKER_00]: And I think the way that her housekeeper, the way that they react towards her, you get a sense that

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[SPEAKER_00]: You know, she's very stern.

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[SPEAKER_00]: She can go off because they're very timid, you know, by her.

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[SPEAKER_00]: And so she's one for scrubbing of floors with like Ajax and doing all that.

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[SPEAKER_00]: I really did want it to open though with no more wire hangers.

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[SPEAKER_00]: And I was going to do the whole skit.

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[SPEAKER_00]: I meant to do it.

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[SPEAKER_00]: I was actually going to have a wire hanger next to me and open up and do that.

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[SPEAKER_00]: I thought, you know, I won't.

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[SPEAKER_02]: I worked.

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[SPEAKER_02]: So my dear friend Gabriel found us on the street the other day.

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[SPEAKER_02]: It's like, uh, no, it's a, yeah.

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[SPEAKER_02]: I know where I'm going to wear that.

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[SPEAKER_00]: That is great.

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[SPEAKER_00]: That's great.

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[SPEAKER_00]: You know what else this funny is?

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[SPEAKER_00]: You know, you know, fun facts.

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[SPEAKER_00]: The movie is very popular.

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[SPEAKER_00]: So as I'm, you know, doing a post to advertise that we're going to do this live tonight, talk about mommy dearest.

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[SPEAKER_00]: I'm looking for music.

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[SPEAKER_00]: So I didn't know that if I type in mommy dearest, a whole bunch of mommy dearest stuff comes up, but it's not mommy dearest until I get to this song called, no more wire hangers.

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[SPEAKER_00]: Didn't know that was a thing.

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[SPEAKER_00]: And whatever, and I've been singing that.

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[SPEAKER_00]: In my head, I was cleaning the kitchen up.

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[SPEAKER_00]: Not Joan Rivers are Joan Crawford style, but I was cleaning the kitchen up.

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[SPEAKER_00]: And I'm singing in my head.

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[SPEAKER_00]: No more wire hangers.

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[SPEAKER_00]: No more.

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[SPEAKER_00]: No more.

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[SPEAKER_00]: And I'm singing that.

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[SPEAKER_00]: So you guys check out the song.

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[SPEAKER_00]: I mean, that's how popular the film is.

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[SPEAKER_00]: But anyway, she gets Christina, loves Christina.

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[SPEAKER_00]: Um, absolutely dorser and she's really big on, you know, making sure that Christina as she grows up realizes how lucky she is.

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[SPEAKER_00]: The things that she has because she did, she had a beautiful home.

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[SPEAKER_00]: I mean, her life was beautiful, but when you get to see what goes on and the the first thing you notice is

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[SPEAKER_00]: the swimming.

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[SPEAKER_00]: How she is towards her as far as competition and being competitive.

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[SPEAKER_00]: She's really hard on this little five-year-old girl and making her dive and you know, and the poor girl is like just so tired and that's when you see Joan Copper just there there is no excuses like this is something that you do I mean kids need to be strong because she didn't come from the best upbringing you know I think there was a

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[SPEAKER_00]: The first time her father, that she saw her father, it was on set.

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[SPEAKER_00]: And then a film that she did in the nineteen fifty-four and they stated that that was the first and the last time she'd ever seen her dad talking about Joan Crawford.

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[SPEAKER_00]: So, you know, her dealing with Christina, you have to know that she got that from somewhere, like something was right in her childhood.

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[SPEAKER_00]: What do you think about when you first saw a little bit of a view step she had towards Christina?

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[SPEAKER_02]: Yeah, it's really intense, I think.

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[SPEAKER_02]: like I wrote down something, but you got to know how to compete to win.

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[SPEAKER_02]: She said, this is like, this is a great girl.

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[SPEAKER_02]: She just like, she won't let her win.

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[SPEAKER_02]: Like, when there's swimming laughs, her girl is dying.

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[SPEAKER_02]: She's like, be to again.

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[SPEAKER_00]: Yes.

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[SPEAKER_00]: Very competitive towards the little girl.

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[SPEAKER_02]: You know, and then

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[SPEAKER_02]: I feel like later, she said, it's about a Christina for being competitive with her.

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[SPEAKER_02]: It's like, you answer this.

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[SPEAKER_00]: When she made that character, thank you.

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[SPEAKER_00]: When she made that statement, I'm like, what?

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[SPEAKER_02]: I hope that you, you know, it's a contest with you.

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[SPEAKER_00]: Like, yeah, what are you talking about?

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[SPEAKER_00]: Where did you learn that?

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[SPEAKER_00]: What do you think about the, this is, I thought was really evil that she would do was everything that Joan Crawford did according to a Christina was for her photo on.

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[SPEAKER_00]: Their first Christmas, there were cameras there.

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[SPEAKER_00]: There were, you know, just a media there.

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[SPEAKER_00]: and they had to act.

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[SPEAKER_00]: Everything with Joan was perfect.

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[SPEAKER_00]: Everything had to be perfect.

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[SPEAKER_00]: You have to present yourself as a perfect family.

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[SPEAKER_00]: And so they get all these toys.

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[SPEAKER_00]: And by this time, Christopher's in a picture, her younger brother, she adopts them.

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[SPEAKER_00]: They get all these toys.

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[SPEAKER_00]: I mean, just the living room is full of Christmas toys.

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[SPEAKER_00]: But she only looks them keep one.

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[SPEAKER_00]: What did you think about that?

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[SPEAKER_02]: Yeah, that's right up.

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[SPEAKER_02]: I'm not necessarily cruel.

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[SPEAKER_02]: I mean to give.

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[SPEAKER_02]: Again, you know, it could be spoiled, but then when you don't even let the presence in the house, you're like, you're looking at all the presence.

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[SPEAKER_02]: And then you're only like, keep one.

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[SPEAKER_02]: It's nice to give to charity.

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[SPEAKER_02]: Absolutely.

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[SPEAKER_02]: They have more, but yeah, it feels, yeah, not us.

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[SPEAKER_02]: It's all very intense.

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[SPEAKER_00]: it really is and so you know Christina being that young at that time the mine games that are being played with her you know manipulation that's being played with her and Joan would rub it in her face I mean there's a scene where

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[SPEAKER_00]: She's imitating, well, when she's in a mirror and Christina, Christina's in a mirror and she's imitating her, play acting, you know.

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[SPEAKER_00]: And Joan was very sensitive.

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[SPEAKER_00]: Like, she took everything to heart.

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[SPEAKER_00]: I mean, she couldn't take a joke.

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[SPEAKER_00]: You couldn't make fun of her.

14:54.697 --> 15:01.100
[SPEAKER_00]: And when she walks in on the baby, doing what little girls do in their mom's room, brushing their hair and just pretending because her mother's an actress.

15:02.461 --> 15:03.502
[SPEAKER_00]: The way she went off.

15:04.399 --> 15:04.960
[SPEAKER_00]: Yeah, go ahead.

15:04.980 --> 15:06.742
[SPEAKER_02]: She's so mad at that.

15:06.882 --> 15:07.482
[SPEAKER_02]: She has.

15:07.723 --> 15:08.544
[SPEAKER_02]: It's so clear.

15:08.684 --> 15:12.488
[SPEAKER_02]: She's emulating you because she respects you or she wants to do.

15:12.528 --> 15:12.989
[SPEAKER_02]: Right.

15:13.649 --> 15:17.994
[SPEAKER_02]: And to get mad at her right pretending to be you.

15:19.623 --> 15:21.424
[SPEAKER_00]: It was nuts.

15:22.224 --> 15:26.706
[SPEAKER_00]: One thing I do love about that scene and I have to say about a lot of the scenes in the film.

15:27.426 --> 15:31.168
[SPEAKER_00]: I love the way they shot that scene to where you only are seeing them through the mirror.

15:32.049 --> 15:33.589
[SPEAKER_00]: I love that.

15:34.530 --> 15:37.131
[SPEAKER_00]: The direction of this film was very creative.

15:37.851 --> 15:41.032
[SPEAKER_00]: You really do feel like you're back in, nineteen, thirties, you know.

15:42.513 --> 15:43.193
[SPEAKER_00]: Hollywood.

15:44.453 --> 15:46.414
[SPEAKER_00]: And this was this film was made in the eighties.

15:46.454 --> 15:51.495
[SPEAKER_00]: They did a really good job at bringing you into that world and bringing you into that lifestyle.

15:51.515 --> 15:52.815
[SPEAKER_00]: So they did a really good job.

15:53.215 --> 16:00.576
[SPEAKER_00]: Like I said, that house, I mean, because everything happens at that house and you see how elegant the house is, how clean the house is.

16:00.996 --> 16:06.997
[SPEAKER_00]: But she, but the games that she would play with the little girl was just it was she cut that baby's hair.

16:08.177 --> 16:10.018
[SPEAKER_00]: Why that was a thing she did.

16:10.158 --> 16:11.158
[SPEAKER_00]: Why cut the hair?

16:12.054 --> 16:13.555
[SPEAKER_02]: I don't even remember what she was.

16:14.055 --> 16:17.316
[SPEAKER_02]: Oh, I don't, yeah, I remember what happened that made her so mad.

16:17.716 --> 16:25.338
[SPEAKER_00]: She was just, she thought that she thought that Christina was, because remember she walks in and she says, are you making her?

16:25.639 --> 16:28.860
[SPEAKER_00]: Yeah, you making fun of me and her whole demeanor changes.

16:29.400 --> 16:32.561
[SPEAKER_00]: And Christina's looking at her like, no, not at all.

16:32.581 --> 16:35.882
[SPEAKER_00]: And by this time Christina knows, I mean, you know, she knows how her mother is.

16:36.622 --> 16:38.623
[SPEAKER_00]: And she just starts going off.

16:39.698 --> 16:41.679
[SPEAKER_02]: I've got a fun fact about this scene.

16:41.899 --> 16:50.041
[SPEAKER_02]: So, hey, Dendaway, on set, kind of went extra hard on a lot of these scenes.

16:51.922 --> 17:04.286
[SPEAKER_02]: So, in that scene where they're cutting her hair, she just, like, actually stabbed that actress, like, young actress in the face, like, during that scene, like, really?

17:04.566 --> 17:07.787
[SPEAKER_02]: There's so many instances where they Dendaway is being like,

17:09.443 --> 17:10.063
[SPEAKER_00]: Wow.

17:10.744 --> 17:11.964
[SPEAKER_02]: Wow.

17:12.045 --> 17:22.050
[SPEAKER_02]: Like the the wire hanger scene they did like seven times and they didn't really went so hard like she like broke her voice.

17:23.031 --> 17:23.631
[SPEAKER_01]: Wow.

17:24.131 --> 17:33.017
[SPEAKER_02]: And like so yeah I can think of like fade done way just got into the role too hard.

17:33.477 --> 17:38.840
[SPEAKER_02]: But now from some of my research research I'm starting to think like fade done away was just like

17:39.355 --> 17:41.721
[SPEAKER_02]: Right, this is what we're looking for.

17:42.182 --> 17:43.425
[SPEAKER_02]: This intense song.

17:45.517 --> 17:54.962
[SPEAKER_00]: It's true because there's a lot of scenes where especially the scene where she's cutting her hair where she's just going hard and it's like, wow, you know, she's really intense.

17:55.302 --> 18:03.205
[SPEAKER_00]: But even with the wire hanger scene, the way that she was able to transform herself into this person, it was like she was this person.

18:03.906 --> 18:10.269
[SPEAKER_00]: It was so real and she went so hard at this scene and just the way she's able to go from

18:11.442 --> 18:29.934
[SPEAKER_00]: um normal just looking in the closet making sure everything is and when she's watching out wire hanger yeah just yeah go ahead Amanda oh first of all I mean she's she's in that mask but like cold getting white mask right

18:31.465 --> 18:33.425
[SPEAKER_02]: one of those chili things I've ever seen.

18:33.485 --> 18:37.226
[SPEAKER_02]: Like, I know for a lot of people, this movie is really funny.

18:37.426 --> 18:40.267
[SPEAKER_02]: Like, it's over the top that you sort of have to laugh.

18:40.327 --> 18:40.667
[SPEAKER_00]: Yes.

18:41.007 --> 18:41.247
[SPEAKER_00]: Yes.

18:42.287 --> 18:45.167
[SPEAKER_02]: There's just such a, sometimes she's so quiet.

18:45.628 --> 18:47.468
[SPEAKER_02]: And I can tell how mad she is.

18:47.768 --> 18:51.689
[SPEAKER_02]: And there's nothing scarier in the world to be than Mama's mad.

18:51.709 --> 18:52.809
[SPEAKER_01]: Right.

18:52.869 --> 18:58.190
[SPEAKER_02]: And baby dinner like as June Crawford is so scary.

18:58.610 --> 18:58.890
[SPEAKER_00]: Yes.

18:59.893 --> 19:01.674
[SPEAKER_02]: She seems capable of anything.

19:01.994 --> 19:02.414
[SPEAKER_00]: Yes.

19:03.274 --> 19:04.294
[SPEAKER_00]: She killed this role.

19:04.375 --> 19:11.517
[SPEAKER_00]: I mean, it's... They she think was she really that intense though, was she... You know?

19:11.537 --> 19:15.658
[SPEAKER_02]: I think she made lots of people on set crying.

19:16.118 --> 19:19.099
[SPEAKER_02]: She's constantly trying to fire people for like being too attractive.

19:19.179 --> 19:23.621
[SPEAKER_02]: Like in real life, they've done the way it was like... Wow.

19:23.821 --> 19:24.101
[SPEAKER_02]: Wow.

19:24.321 --> 19:24.881
[SPEAKER_00]: Wow.

19:25.141 --> 19:25.662
[SPEAKER_00]: Okay.

19:26.042 --> 19:29.583
[SPEAKER_02]: And maybe some of the Joan Crawford spirit, but I don't know.

19:30.375 --> 19:38.537
[SPEAKER_00]: Hey, I, I've heard of actors, you know, like really getting in their role and they'll walk around and they'll need that person, you know, they'll talk that way, they'll stay in that role.

19:39.177 --> 19:42.718
[SPEAKER_00]: But this is much because this is about abuse, man.

19:43.058 --> 19:44.139
[SPEAKER_01]: You know what I mean?

19:44.159 --> 19:47.520
[SPEAKER_02]: Yeah, now you're actually, you know what I mean?

19:47.980 --> 19:50.841
[SPEAKER_02]: Yeah, right.

19:51.021 --> 19:52.181
[SPEAKER_02]: Just do this all the time.

19:54.411 --> 20:02.253
[SPEAKER_02]: I mean, she gave a riveting performance.

20:02.373 --> 20:03.753
[SPEAKER_00]: I mean, she really did.

20:03.873 --> 20:05.853
[SPEAKER_00]: She, I mean, no doubt she really did.

20:05.893 --> 20:12.495
[SPEAKER_00]: And like Amanda said, I mean, it was to the point where you can tell she's upset without her saying anything.

20:12.995 --> 20:17.715
[SPEAKER_00]: The way her eyes with you beating and she all my gut, I felt bad.

20:17.735 --> 20:19.556
[SPEAKER_00]: Like Christina, girl, please be quiet.

20:19.576 --> 20:20.296
[SPEAKER_00]: Don't say nothing.

20:20.936 --> 20:23.978
[SPEAKER_00]: And then Christina's getting to the point to her as a little girl.

20:24.058 --> 20:25.298
[SPEAKER_00]: She's challenging her.

20:25.879 --> 20:28.860
[SPEAKER_00]: That that that full scene where she is telling her.

20:30.161 --> 20:31.402
[SPEAKER_00]: I'm not going to play with you anymore.

20:31.422 --> 20:34.744
[SPEAKER_00]: Because, you know, Joan Propert was like, you know, I win.

20:34.764 --> 20:37.125
[SPEAKER_00]: And Christina's like, well, you're bigger than me.

20:37.585 --> 20:39.086
[SPEAKER_00]: And I'll always be bigger than you.

20:39.146 --> 20:40.487
[SPEAKER_00]: And I'll always be better than you.

20:40.587 --> 20:42.748
[SPEAKER_00]: And Christina's like, well, I'm not playing with you anymore.

20:42.888 --> 20:43.528
[SPEAKER_00]: And whoa.

20:44.769 --> 20:47.571
[SPEAKER_00]: Whoa, that was that scene was like, oh my gosh.

20:47.611 --> 20:48.891
[SPEAKER_00]: And then look, she gave her.

20:48.911 --> 20:50.032
[SPEAKER_00]: I was scared.

20:50.785 --> 20:53.967
[SPEAKER_02]: I can't figure out, look, I keep from a technician scan point.

20:54.047 --> 20:57.388
[SPEAKER_02]: I'm trying to figure out what is she doing, but it's so upsetting.

20:57.548 --> 20:59.229
[SPEAKER_02]: And I don't think she's blinking.

20:59.849 --> 21:01.590
[SPEAKER_02]: She's definitely not blinking.

21:03.171 --> 21:04.251
[SPEAKER_00]: So it's very true.

21:04.291 --> 21:07.573
[SPEAKER_00]: The little girl is doing, there's nothing like a little girl.

21:09.054 --> 21:10.674
[SPEAKER_00]: You're even seeing her doing anything.

21:10.755 --> 21:12.255
[SPEAKER_00]: She's doing little girl things.

21:12.315 --> 21:15.277
[SPEAKER_00]: For instance, and she got really in trouble for that.

21:15.357 --> 21:19.679
[SPEAKER_00]: She actually went and took Christina and locked her into the sauna.

21:20.339 --> 21:21.399
[SPEAKER_00]: and made her stay there.

21:21.680 --> 21:24.161
[SPEAKER_00]: And I think she forgot that the child was even there.

21:24.601 --> 21:29.823
[SPEAKER_00]: But there's another time where Christina was in her room, mining her own business, playing with her dolls.

21:30.443 --> 21:34.905
[SPEAKER_00]: And of course, kids imitate what their mom, you know, how their mom disciplines them with their dolls.

21:34.965 --> 21:36.626
[SPEAKER_00]: We used to do with our dolls, so it was normal.

21:37.426 --> 21:40.827
[SPEAKER_00]: She's just telling the dolls, you know, you better be good or not behaving.

21:40.867 --> 21:41.947
[SPEAKER_00]: I'm very ashamed of you.

21:42.568 --> 21:44.548
[SPEAKER_00]: You know, Joan comes in the room.

21:44.608 --> 21:49.550
[SPEAKER_00]: She's standing there and she gets very upset, but she doesn't show it.

21:49.610 --> 21:54.091
[SPEAKER_00]: She doesn't, you don't see that until little Christina comes back and all her dolls are gone.

21:54.751 --> 21:57.212
[SPEAKER_00]: And she goes at her mom's room and she's like, where's my babies?

21:58.167 --> 22:03.631
[SPEAKER_00]: And she tells her, well, you know, you're basically your stressed out over and they're not doing good.

22:03.731 --> 22:08.054
[SPEAKER_00]: So, and the look Christina gives her and just storms off.

22:08.935 --> 22:12.598
[SPEAKER_00]: That's the stuff Joan would do, just nitpicking at this kid.

22:13.779 --> 22:15.340
[SPEAKER_00]: I'm thinking, why did you even a doctor?

22:15.360 --> 22:20.383
[SPEAKER_02]: I mean, she says I won't point, but she did want the good press for it.

22:22.278 --> 22:24.260
[SPEAKER_00]: And she did, and that's another thing.

22:24.320 --> 22:33.327
[SPEAKER_00]: I mean, the way that they were able to, first of all, Christina was made to call Joan a proper mommy dearest.

22:34.068 --> 22:39.252
[SPEAKER_00]: And when she said it, I thought, I mean, seriously.

22:40.739 --> 22:43.540
[SPEAKER_00]: I thought that I'd forgot all about that guys.

22:43.580 --> 22:44.900
[SPEAKER_00]: Haven't seen Moon on the time.

22:44.980 --> 22:50.081
[SPEAKER_00]: So I'm thinking when she brought up and was calling her mommy dearest.

22:50.662 --> 22:58.364
[SPEAKER_00]: I'm like, oh, so she made her and she made her call that and when she said dearest, she was supposed to say it like she meant it.

22:59.144 --> 22:59.504
[SPEAKER_00]: And so

23:02.846 --> 23:12.292
[SPEAKER_00]: Crazy crazy crazy crazy crazy crazy crazy crazy anyways you want to thoughts a scene You know, you know, they're so much.

23:12.332 --> 23:21.618
[SPEAKER_02]: There's so much Well, I mean for me, I'm always trying to find the like psychological like what's going on with someone like why?

23:21.638 --> 23:30.704
[SPEAKER_02]: Like what's really at the heart of this so right the OCD clenliness with right to be a deregiment with

23:31.507 --> 23:33.447
[SPEAKER_02]: You know, not being a handle is child.

23:33.467 --> 23:37.588
[SPEAKER_02]: This is a woman who's trying so hard to have control.

23:37.608 --> 23:44.010
[SPEAKER_02]: And in this time where, you know, the studios are not getting their jobs anymore.

23:44.470 --> 23:45.970
[SPEAKER_02]: She doesn't have control over this.

23:46.030 --> 23:47.911
[SPEAKER_02]: So she's starting to lose it.

23:48.131 --> 23:51.812
[SPEAKER_02]: And like, for her, it's just about like taking control where she can.

23:51.852 --> 23:57.153
[SPEAKER_02]: And like, I mean, also the way I can understand what she's doing and like what it's really about is just right.

23:57.717 --> 24:00.218
[SPEAKER_02]: This girl can't, she can't control this girl.

24:00.238 --> 24:02.058
[SPEAKER_02]: That's driving her crazy.

24:02.118 --> 24:08.980
[SPEAKER_02]: You know, these men are starting to not really pay attention anymore and it's all kind of unraveling.

24:09.000 --> 24:10.000
[SPEAKER_00]: Right.

24:10.280 --> 24:13.381
[SPEAKER_02]: For me, that was my big takeaway and this is what I knew.

24:14.362 --> 24:15.702
[SPEAKER_02]: Just to try and get control.

24:16.690 --> 24:33.445
[SPEAKER_00]: Right, you know, I think that, you know, before an actress like Joan Crawford, who started very young in Hollywood as a young, beautiful actress, and then you see her aging, you know, and I thought they did a good really good job with aging her through throughout the film.

24:34.345 --> 24:48.954
[SPEAKER_00]: to let you know what stage of life she was in, you know, and the fact that she was Hollywood starling, you know, like she worked with Clark Gable and all these great leading men, and then to get to a point to where the studio just doesn't want you.

24:48.974 --> 24:55.518
[SPEAKER_00]: The things that she had to do with as an actress at that time, a single woman at that time, and she was very assertive.

24:55.938 --> 24:59.340
[SPEAKER_00]: I really liked that about her because you weren't going to get something over on her.

24:59.700 --> 25:02.482
[SPEAKER_00]: She's very paranoid about it, but she did stand up for herself.

25:03.002 --> 25:09.208
[SPEAKER_00]: When, you know, she goes to MGM and she thinks she's going there because they're going to give her a great part, whatever.

25:09.729 --> 25:16.095
[SPEAKER_00]: And he flat out tells her, you know, I need you to do me a favor and she's like, anything leave the studio.

25:16.936 --> 25:18.097
[SPEAKER_00]: Leave just leave the studio.

25:18.577 --> 25:19.878
[SPEAKER_00]: You learn that

25:20.559 --> 25:23.800
[SPEAKER_00]: The studio, the acting, that's her to life.

25:23.880 --> 25:24.861
[SPEAKER_00]: That's her everything.

25:24.901 --> 25:27.162
[SPEAKER_00]: There's nothing else that means more than that.

25:27.182 --> 25:35.305
[SPEAKER_00]: I mean, this woman accumulated millions of dollars self-made as an actress and to get to that point to where you're not adored anymore.

25:35.825 --> 25:40.287
[SPEAKER_00]: Personally, as a woman, it's even harder getting older and to have an ideal with that.

25:40.327 --> 25:42.988
[SPEAKER_00]: It's a little different for men than it is for women.

25:43.068 --> 25:45.069
[SPEAKER_00]: So they see her go through that.

25:45.189 --> 25:46.530
[SPEAKER_00]: I felt for her because

25:49.204 --> 25:49.945
[SPEAKER_00]: It was sad.

25:50.105 --> 25:51.206
[SPEAKER_00]: It was just really sad.

25:51.266 --> 26:04.333
[SPEAKER_00]: And like you said, the regimens that she would do to keep herself young, you know, to be in, which, and then to deal with new starlets that are coming up to live in that world where you're judged by your beauty.

26:05.154 --> 26:08.836
[SPEAKER_00]: That has to be really, really hard or a woman.

26:09.296 --> 26:10.797
[SPEAKER_00]: So her losing it a lot.

26:10.837 --> 26:16.881
[SPEAKER_00]: And then getting to the point where I felt like she would treat Christina as if it was a competition.

26:17.741 --> 26:25.604
[SPEAKER_00]: for her, like when she had met the new guy and all of the guys that she meets, the child calls him uncle.

26:26.224 --> 26:30.265
[SPEAKER_00]: You know, so I just wanted to point that out.

26:30.705 --> 26:33.947
[SPEAKER_00]: You know, in the first guy that she had, she really threw that over with him.

26:34.007 --> 26:40.309
[SPEAKER_00]: I thought that was when they got into it and you really get to see how vulnerable she is.

26:40.709 --> 26:41.909
[SPEAKER_00]: She talks a lot of stuff.

26:41.929 --> 26:46.191
[SPEAKER_00]: She has a loud bark, but she's just a baby on the inside.

26:46.211 --> 26:46.851
[SPEAKER_00]: Go ahead Amanda.

26:49.464 --> 26:52.745
[SPEAKER_02]: Okay, so there's a couple things I thought were weird.

26:53.525 --> 26:54.305
[SPEAKER_02]: Like she doesn't.

26:54.465 --> 26:57.906
[SPEAKER_02]: I was trying to look at like why didn't she go to the Academy of Wards?

26:58.547 --> 27:00.267
[SPEAKER_02]: You know, they kind of make it seem like she's sick.

27:00.447 --> 27:04.529
[SPEAKER_02]: But that might be like another like control thing of like, right?

27:05.749 --> 27:14.412
[SPEAKER_02]: If I'm in my home, like I get to control what happens, like, you know, like she gets decide to go outside and speak to the press if she wants or you know, like,

27:15.265 --> 27:16.806
[SPEAKER_02]: I'm sort of interesting to me.

27:18.007 --> 27:19.808
[SPEAKER_02]: I'm talking about meeting men.

27:19.968 --> 27:23.750
[SPEAKER_02]: She gets married when we're seeing it's like up at boarding school.

27:25.351 --> 27:28.673
[SPEAKER_02]: She makes Christina go down, but he's like in the swimming pool.

27:28.773 --> 27:33.135
[SPEAKER_02]: And she makes Christina like walk up to him while he's swimming and be like, hi.

27:34.116 --> 27:38.919
[SPEAKER_00]: Yeah, I felt so bad for her and shook his hand.

27:38.959 --> 27:40.740
[SPEAKER_00]: And she's like,

27:42.012 --> 27:46.775
[SPEAKER_00]: Yes, and she's asking her mom, like mommy, what do I call him uncle?

27:47.315 --> 27:48.636
[SPEAKER_00]: She's like, no, this is your dad.

27:49.136 --> 27:49.817
[SPEAKER_00]: That's your dad.

27:49.877 --> 27:51.638
[SPEAKER_00]: Go introduce yourself to him.

27:52.519 --> 27:56.581
[SPEAKER_00]: The positions that she will put this child in was just horrible.

27:56.661 --> 28:01.384
[SPEAKER_00]: And back to the scene with the younger man that she was dating before she met the Pepsi tycoon.

28:02.525 --> 28:04.346
[SPEAKER_00]: Well, supposed to be Pepsi tycoon.

28:04.566 --> 28:04.966
[SPEAKER_00]: Anyways.

28:06.267 --> 28:14.136
[SPEAKER_00]: Christina, I don't know if she had a drink of something, but the way that she, yeah, when she was flirting, I felt she was flirting with this man.

28:14.596 --> 28:23.225
[SPEAKER_00]: She made him a drink because she knew how to make drinks because that's one thing Joan was, was an absolute alcoholic, this woman had a glass of vodka and a cigarette.

28:24.567 --> 28:28.070
[SPEAKER_00]: every scene she was in, cigarette and drinking, that's what she did.

28:28.470 --> 28:30.312
[SPEAKER_00]: So Christina growing up that knows that.

28:30.732 --> 28:41.762
[SPEAKER_00]: But the way that she, you know, of kind of flirt with them, she's a little girl, kind of innocent, but still, she takes that glass in the room when she makes her mom that drinking goes in there while they're sitting there.

28:42.775 --> 28:44.076
[SPEAKER_00]: What did you think about that scene?

28:44.096 --> 28:49.360
[SPEAKER_00]: What she, what she, what she flirting with him the way she walked down was just looking.

28:49.400 --> 28:56.025
[SPEAKER_02]: Like, I thought she was just trying, like, she knew they were like about to be doing this together.

28:56.105 --> 29:04.210
[SPEAKER_02]: I thought she was just trying to, like, I have no, not stop whatever is going on, but just like be annoying, like, okay, okay.

29:04.971 --> 29:07.373
[SPEAKER_02]: Here I am, like, what are you gonna do?

29:09.846 --> 29:11.588
[SPEAKER_02]: And then the next thing we know, she's up.

29:12.088 --> 29:14.050
[SPEAKER_02]: She's been sent to boarding school, which is.

29:14.070 --> 29:15.271
[SPEAKER_00]: She got that child out of there.

29:15.811 --> 29:18.353
[SPEAKER_00]: She got her out of there like this child was a threat.

29:18.473 --> 29:27.761
[SPEAKER_00]: I mean, in a way, it was, it was done in the poor girl gets dropped off at boarding school, crying, wants to go home and Jones like, nope.

29:28.502 --> 29:29.502
[SPEAKER_00]: You know, see you later.

29:29.562 --> 29:30.243
[SPEAKER_00]: You'll be fine.

29:30.303 --> 29:33.164
[SPEAKER_00]: I'll come and visit you soon and so she's she's at boarding school.

29:33.184 --> 29:41.086
[SPEAKER_00]: That's where she's been allowed and she only went home on the weekends, you know, she would go home and to the same situation though, it was it's still same.

29:41.626 --> 29:42.347
[SPEAKER_00]: She would be there.

29:42.387 --> 29:48.629
[SPEAKER_00]: You think they would be close when she would come home from the boarding school because when she came home at this point, Christina's a little bit older.

29:49.289 --> 29:54.072
[SPEAKER_00]: And so it's a different dynamic now because she's an older young lady.

29:54.192 --> 29:55.113
[SPEAKER_00]: She knows what's up.

29:55.393 --> 29:58.736
[SPEAKER_00]: And she still tries to please Joan.

29:58.796 --> 30:03.919
[SPEAKER_00]: She still tries to avoid argument or get into it with her.

30:04.259 --> 30:07.882
[SPEAKER_00]: But the fact that she goes home meets her dad for the first time.

30:08.322 --> 30:09.803
[SPEAKER_00]: And then they're getting this house built.

30:09.863 --> 30:11.824
[SPEAKER_00]: I mean, the condo that she was reading.

30:12.725 --> 30:23.174
[SPEAKER_00]: Yeah, when she met the Pepsi guy and I thought it was pretty cold when Christina was asking her like, um, you know, can you give me some help this month?

30:23.394 --> 30:25.857
[SPEAKER_00]: And she's like, not one cent.

30:26.437 --> 30:27.999
[SPEAKER_00]: You know how I feel about that Christina?

30:28.099 --> 30:31.121
[SPEAKER_00]: And I thought you are Joan Crawford.

30:31.842 --> 30:34.564
[SPEAKER_00]: You, you, you're married to this Pepsi guy.

30:35.888 --> 30:40.130
[SPEAKER_00]: He had to go and sneak your daughter a few hundred dollars so that she can be okay.

30:40.251 --> 30:47.695
[SPEAKER_00]: It was just cruel and when her and Christina gets into him and Christina finally asked her, why did you adopt me?

30:49.676 --> 30:52.858
[SPEAKER_00]: and they get into it over that question.

30:53.398 --> 30:59.283
[SPEAKER_00]: And you know, throughout this film, you're waiting for Christina to, you know, she's gonna say something, but they have this raw.

30:59.863 --> 31:02.985
[SPEAKER_00]: This Christina's like, what's the point at me being here?

31:03.065 --> 31:04.266
[SPEAKER_00]: You haven't been good to me.

31:04.726 --> 31:05.607
[SPEAKER_00]: You're not good to me.

31:05.667 --> 31:06.848
[SPEAKER_00]: You're not a good mother to me.

31:07.268 --> 31:17.075
[SPEAKER_00]: And they still are, you know, making sure that they behave because Joan has a new role that she, and I believe that role that she was waiting to get,

31:18.176 --> 31:21.618
[SPEAKER_00]: notification that she got the role was, Miller appears.

31:21.718 --> 31:22.699
[SPEAKER_00]: She really wanted that role.

31:22.739 --> 31:24.120
[SPEAKER_00]: That's when she left the studio.

31:24.220 --> 31:25.300
[SPEAKER_00]: She's with Warner now.

31:26.481 --> 31:31.804
[SPEAKER_00]: That was probably the last big role that she got because she won and Oscar for that.

31:32.445 --> 31:34.846
[SPEAKER_00]: And remember, the press was at the front door.

31:35.326 --> 31:36.587
[SPEAKER_00]: They're really happy for her.

31:36.627 --> 31:37.588
[SPEAKER_00]: Very excited for her.

31:38.768 --> 31:44.672
[SPEAKER_00]: So she was still acting, but after that role, it just kind of, it fizzled.

31:44.732 --> 31:51.396
[SPEAKER_00]: She wasn't getting many offers, as a matter of fact, Christina gets into, and going back to the fight really quick guys.

31:51.436 --> 32:00.402
[SPEAKER_00]: I mean, this woman got on Christina and was poking her, trying to kill her while an editor, a reporter was at the house to write a story about her.

32:06.507 --> 32:09.709
[SPEAKER_00]: What do you think like you want to be perfect, but you pull this?

32:09.729 --> 32:20.114
[SPEAKER_02]: I don't know, because you know, she talks to our porter that Christina got expelled, which wasn't true for eight.

32:20.535 --> 32:20.875
[SPEAKER_02]: What?

32:21.195 --> 32:22.736
[SPEAKER_02]: Are you in one thing that you're perfect?

32:22.776 --> 32:25.257
[SPEAKER_02]: Why would you even say that to the reporter?

32:25.317 --> 32:27.478
[SPEAKER_02]: Like, I don't know.

32:27.518 --> 32:28.919
[SPEAKER_02]: Yeah, it was okay.

32:28.939 --> 32:30.220
[SPEAKER_02]: I have a question.

32:30.820 --> 32:31.080
[SPEAKER_00]: Yes.

32:31.341 --> 32:31.701
[SPEAKER_02]: What?

32:32.261 --> 32:33.001
[SPEAKER_02]: What's going on?

32:33.041 --> 32:35.763
[SPEAKER_02]: So Christopher, I've got like Christopher is like,

32:36.352 --> 32:39.139
[SPEAKER_02]: In bed, he has to be like, time down to bed.

32:39.159 --> 32:42.126
[SPEAKER_02]: I'm worried about this one.

32:45.320 --> 32:47.421
[SPEAKER_00]: That is, I'm so happy to brought that back.

32:47.522 --> 32:50.764
[SPEAKER_00]: Okay, so we're jumping around when we do this review.

32:50.784 --> 32:51.164
[SPEAKER_00]: Yeah.

32:51.184 --> 32:52.605
[SPEAKER_00]: Okay, so it's not seen by scene.

32:52.625 --> 32:54.846
[SPEAKER_00]: We're just jumping around our favorite parts.

32:54.886 --> 33:01.431
[SPEAKER_00]: Okay, but we're gonna, we're gonna flash back to the, no more wires.

33:01.871 --> 33:14.340
[SPEAKER_00]: We're gonna flash back to that because that's the first time that I ever, then when they go and get, the, the, the, the, the woman's going to get crushed out of it, but actually that was before the, the wire scene because this is the scene where the rose garden.

33:15.040 --> 33:16.241
[SPEAKER_00]: where she has them come out.

33:16.881 --> 33:21.324
[SPEAKER_00]: That's when you see the maid going there, wait the kids up because Joan wants them downstairs.

33:21.364 --> 33:23.926
[SPEAKER_02]: It has to be like at least three or four more minutes.

33:24.726 --> 33:27.968
[SPEAKER_00]: Going get Christopher out of the bed and they have to unbuckle him.

33:28.308 --> 33:32.451
[SPEAKER_00]: And so when I saw that I was like, why didn't you have him strap down?

33:33.031 --> 33:33.291
[SPEAKER_00]: What is it?

33:34.072 --> 33:34.472
[SPEAKER_00]: What is it?

33:34.752 --> 33:35.753
[SPEAKER_00]: It was little straps.

33:40.383 --> 33:43.166
[SPEAKER_00]: Oh, let's see.

33:43.226 --> 33:47.870
[SPEAKER_00]: Charles Albright says Christopher had an HD according to the internet.

33:47.970 --> 33:48.070
[SPEAKER_00]: OK.

33:48.110 --> 33:50.051
[SPEAKER_00]: But why am I?

33:50.112 --> 33:51.293
[SPEAKER_01]: Why did you wait?

33:51.313 --> 33:51.413
[SPEAKER_00]: Sure.

34:00.143 --> 34:17.812
[SPEAKER_00]: okay okay he would wake up and wander around okay you know what Charles what what I saw that you know that it did cross my mind that is he a sleepwalker is he getting up never seen that done before very cruel very cruel if you parents out there strapped these kids down and and tying them up while they're asleep

34:18.753 --> 34:22.576
[SPEAKER_02]: That's the only way it was that bad that he did if he strapped down.

34:22.636 --> 34:24.297
[SPEAKER_02]: She was just being cruel.

34:24.818 --> 34:25.698
[SPEAKER_00]: It was weird.

34:26.059 --> 34:27.359
[SPEAKER_00]: But I did notice that.

34:27.840 --> 34:29.561
[SPEAKER_00]: But you guys listen, he strapped down.

34:30.442 --> 34:34.585
[SPEAKER_00]: The made comes and gets them out of the bed and Jonas having a fit.

34:35.466 --> 34:40.229
[SPEAKER_00]: I think that was when she found out that she was no longer going to be with the MGM.

34:40.770 --> 34:41.650
[SPEAKER_00]: And so she's out.

34:41.730 --> 34:44.272
[SPEAKER_00]: And when she gets upset, she destroys it.

34:44.412 --> 34:44.692
[SPEAKER_00]: I mean,

34:45.533 --> 34:47.055
[SPEAKER_00]: She took the whole tree.

34:47.335 --> 34:48.416
[SPEAKER_00]: The whole tree.

34:49.117 --> 34:49.517
[SPEAKER_00]: Yes.

34:49.877 --> 34:52.120
[SPEAKER_00]: And the flower bed and she's going nuts.

34:52.320 --> 34:55.303
[SPEAKER_00]: And then she's Christina go get the go get the wool barrel.

34:55.343 --> 34:57.064
[SPEAKER_00]: You know, and so they run and do it.

34:57.525 --> 35:01.229
[SPEAKER_00]: She's have these these fits that she has when something goes wrong.

35:01.349 --> 35:03.931
[SPEAKER_00]: And like I said, I get where she's coming from.

35:03.951 --> 35:05.293
[SPEAKER_00]: I only get it.

35:05.353 --> 35:09.196
[SPEAKER_00]: I mean, the disrespect that they would give her after all the works there.

35:09.997 --> 35:12.781
[SPEAKER_00]: I mean, let's say, let me tell you.

35:12.821 --> 35:13.281
[SPEAKER_00]: Let me tell you.

35:13.722 --> 35:14.363
[SPEAKER_00]: Let me tell you.

35:14.383 --> 35:16.345
[SPEAKER_01]: I mean, I mean, I mean, I like,

35:23.914 --> 35:27.598
[SPEAKER_00]: Okay, okay, so I get her being upset.

35:27.698 --> 35:35.586
[SPEAKER_00]: I don't agree with waking the children up that part of my, I don't agree with her being out there at four to morning, putting down bushes, cutting down, I don't agree with that.

35:35.646 --> 35:41.372
[SPEAKER_00]: I mean, I was thinking about sorens like things like that because it looked like roses that they would have into it.

35:41.432 --> 35:41.632
[SPEAKER_02]: Yes.

35:41.652 --> 35:41.712
[SPEAKER_02]: Yes.

35:48.078 --> 35:53.301
[SPEAKER_00]: Yes, and and cuts on her head and and just and she's just lost it.

35:53.361 --> 35:53.962
[SPEAKER_00]: She's manic.

35:54.002 --> 35:55.142
[SPEAKER_00]: She absolutely lost it.

35:55.182 --> 35:56.363
[SPEAKER_00]: The poor kids are crying.

35:56.923 --> 36:04.208
[SPEAKER_00]: Even the maid is the maid that goes through this abuse, but the maid has been around so long that the maid convinces the kids.

36:05.212 --> 36:06.013
[SPEAKER_00]: You gotta do better.

36:07.714 --> 36:10.756
[SPEAKER_00]: You gotta do better for her.

36:11.016 --> 36:12.777
[SPEAKER_00]: You know, we gotta have that her.

36:13.458 --> 36:14.498
[SPEAKER_00]: She needs this role.

36:14.578 --> 36:15.379
[SPEAKER_00]: We gotta be good.

36:15.459 --> 36:17.480
[SPEAKER_00]: And I'm thinking how much better can it be?

36:17.500 --> 36:20.923
[SPEAKER_02]: I know, there must be a side.

36:22.039 --> 36:35.829
[SPEAKER_00]: When they were playing outside, being kids, remember when she woke up and yelled out the window, and got on the, the, the made for not getting them and, and wrangling, I mean, and why are they out in the east garden or whatever garden that they were in?

36:35.909 --> 36:38.731
[SPEAKER_00]: And they were literally playing ball, basically don't be kids.

36:39.612 --> 36:45.776
[SPEAKER_02]: She needed a full day to prepare a rest to go have her needing like, let's do it.

36:46.517 --> 36:46.757
[SPEAKER_00]: Right.

36:47.408 --> 36:48.529
[SPEAKER_00]: Yes, yes.

36:49.309 --> 36:53.411
[SPEAKER_00]: So she beats the hell out of Christina with the wire hangers guys.

36:53.451 --> 36:54.631
[SPEAKER_00]: This is the famous scene.

36:54.651 --> 36:57.833
[SPEAKER_00]: No, my wire hangers and man they got the little badge on.

36:57.873 --> 37:00.414
[SPEAKER_00]: I can't believe you found that that's amazing that you found that.

37:01.495 --> 37:01.975
[SPEAKER_02]: Why?

37:01.995 --> 37:06.337
[SPEAKER_02]: This is not bringing wire hangers into that room.

37:06.357 --> 37:07.958
[SPEAKER_02]: I'm sorry.

37:07.998 --> 37:08.458
[SPEAKER_00]: Exactly.

37:08.478 --> 37:10.539
[SPEAKER_02]: I got nothing to do with wire hangers.

37:10.559 --> 37:10.959
[SPEAKER_00]: Thank you.

37:10.979 --> 37:12.040
[SPEAKER_02]: Thank you.

37:12.060 --> 37:12.360
[SPEAKER_00]: Thank you.

37:13.767 --> 37:23.352
[SPEAKER_00]: and destroyed the room, destroyed the room, and she saw that hanger, and then when she saw that second hanger, and then she blames Christine, like Christine was responsible for everything.

37:23.792 --> 37:27.834
[SPEAKER_00]: I buy you three and a four hundred dollar dresses, and this is what you do to me.

37:28.274 --> 37:33.016
[SPEAKER_00]: You have these hangers in here, and I'm thinking, who bought the hangers in there?

37:33.036 --> 37:36.198
[SPEAKER_02]: I know, it was probably the main area.

37:36.298 --> 37:36.858
[SPEAKER_00]: Exactly.

37:36.898 --> 37:37.438
[SPEAKER_00]: That's great.

37:37.979 --> 37:38.399
[SPEAKER_00]: Thank you.

37:38.619 --> 37:38.919
[SPEAKER_00]: Exactly.

37:41.567 --> 37:43.788
[SPEAKER_00]: And then you go from the water hangers, too.

37:43.808 --> 37:46.210
[SPEAKER_00]: Why is his bathroom mess?

37:46.370 --> 37:47.891
[SPEAKER_00]: The bathroom was perfect.

37:48.571 --> 37:56.356
[SPEAKER_00]: When she starts rubbing her hands on the floor and poor Christine's going and she's putting out her Ajax wherever she goes.

37:57.076 --> 38:03.440
[SPEAKER_00]: Everywhere and just making that baby shrubbed the floor, clean up the room, or Christopher.

38:04.061 --> 38:07.583
[SPEAKER_00]: In the middle of the night, Christopher is unbuckled out of bed.

38:09.595 --> 38:12.540
[SPEAKER_02]: I can help you and she says she'll kill me.

38:26.100 --> 38:34.141
[SPEAKER_00]: So, you know, and she, it's seriously, Joan, what it killed this child, if Christopher was, was helping.

38:35.182 --> 38:46.303
[SPEAKER_00]: And you know, being that this is an autobiography that Christina wrote about her Joan, you don't see the fact that Joan had already adopted two little girls.

38:47.604 --> 38:50.244
[SPEAKER_00]: Amanda's been telling you that story behind it because this is just sick.

38:50.524 --> 38:50.984
[SPEAKER_00]: Go ahead.

38:51.604 --> 38:55.145
[SPEAKER_02]: It's weird because they're not moving at all, but she adopted two

38:55.936 --> 38:57.939
[SPEAKER_02]: And her twins, everyone calls them the twins.

38:58.019 --> 38:59.741
[SPEAKER_02]: But it turned out she just wanted twins.

38:59.781 --> 39:01.243
[SPEAKER_02]: These were just two kids.

39:01.283 --> 39:03.726
[SPEAKER_02]: She got to the same time in the house of twins.

39:04.647 --> 39:04.788
[SPEAKER_02]: See.

39:06.781 --> 39:08.142
[SPEAKER_00]: And so you don't see them.

39:08.682 --> 39:10.182
[SPEAKER_00]: You don't see Chris for that much.

39:10.222 --> 39:16.084
[SPEAKER_00]: You only see him when necessary because I get that that she's writing this book and she doesn't want to put him in there.

39:16.164 --> 39:26.468
[SPEAKER_00]: So you see him when they have the same the Christmas when they did the radio slot thing and so they have the same do the Christmas Carol or whatever they did that you see Chris for there.

39:26.488 --> 39:34.331
[SPEAKER_02]: I guess in the real like the twins don't don't agree with Christina's telling these tales like they don't.

39:34.371 --> 39:34.571
[SPEAKER_00]: Yes.

39:35.157 --> 39:36.738
[SPEAKER_02]: This isn't how they solve it.

39:37.459 --> 39:43.765
[SPEAKER_02]: Christopher agrees with her, but yes, so maybe that's why the twins aren't in it because they are mad and bored with this.

39:44.690 --> 39:46.231
[SPEAKER_00]: No, they're very upset at this.

39:46.552 --> 39:52.196
[SPEAKER_00]: I believe that they did sue Christina after the book came out.

39:52.697 --> 39:53.657
[SPEAKER_00]: They end up settling.

39:53.697 --> 39:55.399
[SPEAKER_00]: They didn't say how much he settled with them.

39:56.199 --> 40:03.345
[SPEAKER_00]: They are saying, and some of the people that were around Joe and at the time, there was an actress, Morena Lowe.

40:05.807 --> 40:12.791
[SPEAKER_00]: She also was a good friend of Jones and said that she doesn't agree, even though she wasn't in the house.

40:13.612 --> 40:23.538
[SPEAKER_00]: She actually made a statement and she said that she didn't see Joan ever hit Christina, but if you knew Christina, you slapper.

40:25.199 --> 40:26.960
[SPEAKER_00]: Yeah, you said that.

40:27.000 --> 40:29.041
[SPEAKER_00]: Let me, yeah, she said that.

40:29.882 --> 40:30.502
[SPEAKER_00]: Let me see.

40:31.263 --> 40:32.063
[UNKNOWN]: Wow.

40:32.343 --> 40:35.065
[SPEAKER_00]: Yeah, I was like, oh my gosh, I can't believe she said that.

40:36.418 --> 40:37.979
[SPEAKER_00]: Oh, goodness, where's that at?

40:39.100 --> 40:43.603
[SPEAKER_00]: But yeah, so I'll read a little bit about first of all, we'll get to the end of the film.

40:43.643 --> 40:45.904
[SPEAKER_00]: So anyways, guys, spoiler alert.

40:46.325 --> 40:48.646
[SPEAKER_00]: Obviously, you know Joan Crawford's dead, all right?

40:48.706 --> 40:50.708
[SPEAKER_00]: So she died, just let you know.

40:51.528 --> 40:55.130
[SPEAKER_00]: She ended up having an apartment and a New York.

40:55.891 --> 41:03.056
[SPEAKER_00]: And it was really sad when she's getting this honorary award that Christina goes to accept for her.

41:03.156 --> 41:04.457
[SPEAKER_00]: Joan is watching it on the TV.

41:05.297 --> 41:11.898
[SPEAKER_00]: And you know, when you see the beginning of the film, how lavish she lived, all of this stuff, she married the Pepsi guy.

41:11.918 --> 41:13.578
[SPEAKER_00]: He ends up dying.

41:13.659 --> 41:14.859
[SPEAKER_00]: She ends up being on the board.

41:14.959 --> 41:20.120
[SPEAKER_00]: I thought that was really funny when she's sitting there because they want her off the board of Pepsi Cola.

41:20.140 --> 41:21.680
[SPEAKER_00]: They don't want her sitting there anymore.

41:22.220 --> 41:24.940
[SPEAKER_00]: She lets them know that's not going to happen.

41:25.401 --> 41:33.102
[SPEAKER_00]: So come to find out, they were paying her fifty thousand dollars a year until, until she was sixty four years old.

41:33.862 --> 41:34.843
[SPEAKER_00]: just a little fun fact.

41:34.903 --> 41:35.983
[SPEAKER_00]: So that's how that was.

41:36.003 --> 41:39.545
[SPEAKER_00]: She ends up dying.

41:41.305 --> 41:45.127
[SPEAKER_00]: They end up going to, you know, get the will red.

41:45.767 --> 41:47.968
[SPEAKER_00]: And this is this is cold blood at you guys.

41:48.008 --> 41:53.591
[SPEAKER_00]: This is really cold blood at you would think after everything this woman did to these kids that they were going to get something not mind you.

41:54.031 --> 41:55.612
[SPEAKER_00]: I have not seen the film in a long time.

41:55.672 --> 41:58.133
[SPEAKER_00]: So I forget that they, you know, that what they

41:59.233 --> 42:00.094
[SPEAKER_00]: weren't going to get.

42:00.734 --> 42:02.075
[SPEAKER_00]: I thought that we're going to get something.

42:02.155 --> 42:03.756
[SPEAKER_00]: I'm excited for the will to be read.

42:04.457 --> 42:07.298
[SPEAKER_00]: Christina and Christopher about to be broke off.

42:08.219 --> 42:09.440
[SPEAKER_00]: Not at all.

42:10.020 --> 42:11.781
[SPEAKER_00]: She gave them nothing.

42:12.982 --> 42:16.124
[SPEAKER_00]: Nothing and she said and they will understand why.

42:16.144 --> 42:16.184
[SPEAKER_00]: So

42:18.405 --> 42:34.155
[SPEAKER_00]: The question is this, did Joan Crawford know that Christina was going to write a book before she died and is that why she left them out of the will or was she just being Joan Crawford and just was not going to give them anything?

42:36.890 --> 42:38.331
[SPEAKER_00]: So this is from the family.

42:38.992 --> 42:42.297
[SPEAKER_00]: Family and acquaintances of Joan Crawford disputed the book's accuracy.

42:42.978 --> 42:49.166
[SPEAKER_00]: Many who knew Joan Crawford, including her other two adopted twin daughters, two daughters, Kathy and Cynthia.

42:51.825 --> 42:52.886
[SPEAKER_00]: It's funny to know that now.

42:54.887 --> 43:02.212
[SPEAKER_00]: Household staff and family friends denounced the book's claims of abuse and characterized it as sensationalized and inaccurate.

43:02.772 --> 43:15.360
[SPEAKER_00]: So, you know, I would think that if the details were just really, the details in a movie of what Christina's saying went on is, I don't know, because people still don't know.

43:15.420 --> 43:17.681
[SPEAKER_00]: They don't know if she, if she lied,

43:19.387 --> 43:31.732
[SPEAKER_00]: Some said that while some supported Christina's account others, like actress Murna Loy and Christina's younger sibling stayed at that Christina's accusations were largely fictitious.

43:32.512 --> 43:40.615
[SPEAKER_00]: Murna Loy, for instance, dislike Christina and said that while she never saw Joan Hitter, if anyone needed a good slap, it was Christina.

43:41.195 --> 43:43.516
[SPEAKER_00]: This is from the actress Murna Loy.

43:43.656 --> 43:46.177
[SPEAKER_00]: Okay, you guys look her up, she was really big and Hollywood as well.

43:48.198 --> 43:49.019
[SPEAKER_00]: legal challenges.

43:49.139 --> 44:02.989
[SPEAKER_00]: So, in nineteen ninety eight guys, Kathy Crawford, Le Land, filed the lawsuit against Christina for defamation of character regarding claims Christina made on a book tour, the lawsuit was settled out of court.

44:03.149 --> 44:07.332
[SPEAKER_00]: So, there's still, it's still kind of back and forth.

44:07.452 --> 44:08.493
[SPEAKER_00]: And as far as the will,

44:09.513 --> 44:38.920
[SPEAKER_00]: It suggested that Joan Crawford knew Christina was planning to write a tell-all book before her death and excluded Christina and her brother Christopher Firmer will ask she's stated for reasons well known to them some speculate this motivated Christina to write the book And so at the end when you see her sitting with the state to the guy this handling the state and reading the will and Christina looks at her brother and says you know her brother Christopher says man she always gets the last word and Christina's like but does she

44:40.101 --> 45:02.557
[SPEAKER_00]: But does she what I got from that is we're right in the book the book is coming and I will have the last of the last laugh the last word and she did because this book was wildly famous it sold a lot of copies the movie did really great and it had everyone you know talking about Joan Crawford and but it still is it true isn't not true what do you think do you believe or

45:03.637 --> 45:32.210
[SPEAKER_00]: You think she she's pissed because of the money that she didn't get she ended ended up settling and and Christopher and Christopher and Christina end up contesting a will they end up getting up I think was fifty five thousand dollars so yeah I think right you know maybe saturated a little bit but I imagine that's what it felt like to her like this is her truth whether or not

45:33.129 --> 45:37.071
[SPEAKER_02]: You know, her mom slept her with a wire hanger or something.

45:37.411 --> 45:37.651
[SPEAKER_00]: Right.

45:38.952 --> 45:40.973
[SPEAKER_02]: She was living in distress.

45:45.014 --> 45:46.435
[SPEAKER_00]: For for for a long.

45:48.076 --> 45:50.197
[SPEAKER_00]: Really quick.

45:50.237 --> 45:57.060
[SPEAKER_00]: You know, I have to mention this when when when Christine starts acting and gets that acting job and gets sick.

45:58.550 --> 46:04.694
[SPEAKER_00]: I'll hold was that that she turns on a TV and the nurse had to tell her oh don't don't you want to watch a show?

46:05.214 --> 46:06.155
[SPEAKER_00]: No, I don't want to watch it.

46:06.175 --> 46:07.956
[SPEAKER_00]: I don't want to watch them do something without me.

46:08.636 --> 46:10.837
[SPEAKER_00]: Oh no.

46:11.438 --> 46:18.082
[SPEAKER_00]: Your mom's doing that part and she's like but I'm twenty eight the characters twenty eight they show Joan do this part

46:19.295 --> 46:22.058
[SPEAKER_00]: That was so wrong.

46:22.178 --> 46:23.139
[SPEAKER_00]: It's like, what else?

46:23.620 --> 46:26.883
[SPEAKER_00]: She tortured this child from the time the child came into the house.

46:26.983 --> 46:31.387
[SPEAKER_00]: This woman, this is a woman now acting and her mother did this to her.

46:31.508 --> 46:34.030
[SPEAKER_00]: Took the role from her because she was in a hospital sick.

46:34.651 --> 46:34.991
[SPEAKER_00]: Right.

46:37.348 --> 46:42.412
[SPEAKER_02]: It's like, she used this child for publicity for the goodwill of the public.

46:42.672 --> 46:42.912
[SPEAKER_01]: Yes.

46:43.352 --> 46:44.533
[SPEAKER_02]: Which can't have any more.

46:44.553 --> 46:46.214
[SPEAKER_02]: She took things that were hurt.

46:46.254 --> 46:49.377
[SPEAKER_02]: You know, she took this role from her, you know, right.

46:49.437 --> 46:51.138
[SPEAKER_02]: I guess, but that is

46:53.396 --> 47:06.938
[SPEAKER_00]: it was so wrong it was just it was like you owe this girl so much and let me tell you another thing they they would you know she would go visit Christina Christina's apartment when she first got to that apartment and you're looking around and you're like

47:08.267 --> 47:09.768
[SPEAKER_00]: This is Joan Crawford's daughter.

47:10.529 --> 47:12.351
[SPEAKER_00]: Joan Crawford was still making money.

47:12.411 --> 47:13.732
[SPEAKER_00]: She was still on a board of Pepsi.

47:13.792 --> 47:16.134
[SPEAKER_00]: She still was bringing in and fifty thousand dollars a year.

47:16.815 --> 47:21.779
[SPEAKER_00]: And her child was living like just you wouldn't know that her mother was Joan Crawford.

47:21.799 --> 47:23.821
[SPEAKER_00]: The apartment was just a regular apartment.

47:23.841 --> 47:26.844
[SPEAKER_00]: It wasn't what you would think that she would have.

47:27.404 --> 47:30.627
[SPEAKER_00]: And so I noticed that too when you look around and it's like she's struggling.

47:31.107 --> 47:34.170
[SPEAKER_00]: This girl is struggling and struggling afterwards and she gave her nothing and

47:35.071 --> 47:36.311
[SPEAKER_00]: would still give her nothing.

47:36.491 --> 47:38.432
[SPEAKER_00]: She didn't believe in sharing her money.

47:39.272 --> 47:44.453
[SPEAKER_00]: I do want to say that Christina Crawford was played by Diana Scarwood.

47:45.093 --> 47:47.054
[SPEAKER_00]: And she did a great job.

47:47.094 --> 47:48.374
[SPEAKER_00]: She played adult Christina.

47:49.254 --> 47:51.695
[SPEAKER_00]: Mara Hobel played Christina as a child.

47:51.715 --> 47:53.335
[SPEAKER_00]: She did a great job.

47:54.275 --> 47:58.176
[SPEAKER_00]: This was a great actors who did a really good job.

47:58.236 --> 48:04.498
[SPEAKER_00]: Faye Donnoway of course played mommy dearest and played, I'm sorry, got me saying mommy dearest.

48:05.298 --> 48:09.880
[SPEAKER_00]: She played.

48:10.420 --> 48:11.680
[SPEAKER_00]: She played mommy dearest.

48:11.700 --> 48:12.901
[SPEAKER_00]: She played Joan Crawford.

48:12.941 --> 48:14.341
[SPEAKER_00]: She did a great job at it.

48:15.041 --> 48:19.423
[SPEAKER_00]: Really took her role seriously from what Amanda says because some things happen.

48:19.443 --> 48:26.185
[SPEAKER_00]: If you know what I mean, like the really getting intense with this freaking role, Frank Perry, Rutt Nya, Alda,

48:28.946 --> 48:35.571
[SPEAKER_00]: She played Carol Ann and she was a Joan Crawford's people that worked with her in the house.

48:35.591 --> 48:37.373
[SPEAKER_00]: They stayed with her to the very end.

48:37.473 --> 48:40.936
[SPEAKER_00]: I mean, these people aged with her and was very loyal to her.

48:41.436 --> 48:45.599
[SPEAKER_00]: And of course, her hubby Greg, who left her was played by Steve Forest.

48:45.619 --> 48:47.300
[SPEAKER_00]: So this was a really good film, you guys.

48:47.421 --> 48:48.301
[SPEAKER_00]: I really enjoyed it.

48:48.321 --> 48:51.344
[SPEAKER_00]: It was over the top, you know.

48:51.784 --> 48:53.565
[SPEAKER_00]: But they did a really good job.

48:54.246 --> 48:54.886
[SPEAKER_00]: Great job.

48:54.986 --> 48:56.708
[SPEAKER_00]: Design team did amazing.

48:57.508 --> 49:02.890
[SPEAKER_00]: with Joan Crawford and I love the pictures around the house of Fay Donoway as Joan Crawford.

49:02.910 --> 49:13.554
[SPEAKER_00]: They really did a great job at making sure that she had those shots that famous, famous pictures that you've seen of Joan Crawford in films or movie boar of movie posters.

49:13.594 --> 49:16.154
[SPEAKER_00]: So, you're, you're take away from this film.

49:17.655 --> 49:24.297
[SPEAKER_02]: Oh, I mean, if you've never seen this movie, Fay Donoway gives an absolutely unhinged performance.

49:24.397 --> 49:25.898
[SPEAKER_02]: I've never seen anything like it.

49:27.117 --> 49:30.558
[SPEAKER_02]: Honestly, I don't think she was the same after this performance.

49:30.618 --> 49:33.219
[SPEAKER_02]: Like, I don't think she ever shook her cropper.

49:33.680 --> 49:42.183
[SPEAKER_02]: Like, if you saw her on the street afterwards, like, she just kind of lived up to this German cropper attitude, like, after pulling it.

49:42.843 --> 49:43.163
[SPEAKER_01]: Right?

49:43.823 --> 49:46.524
[SPEAKER_02]: It's, it is unreal.

49:47.005 --> 49:52.647
[SPEAKER_02]: Yeah, the transformation they're like, the energy she is giving, it is wild.

49:53.187 --> 49:53.387
[SPEAKER_00]: Right.

49:54.287 --> 49:56.768
[SPEAKER_02]: whether or not you think you care about Jim Crawford.

49:56.948 --> 50:02.091
[SPEAKER_02]: I think this is an all-time crazy, amazing performance by faith in the way.

50:02.771 --> 50:03.852
[SPEAKER_00]: Yes, absolutely.

50:03.872 --> 50:11.936
[SPEAKER_00]: And you know, Faye Donaway, you know, the first time I saw her was in a Bonnie and Clyde with Warren Bady.

50:12.556 --> 50:15.377
[SPEAKER_00]: And so she's a well-known actress in Hollywood.

50:15.498 --> 50:16.718
[SPEAKER_00]: I thought she was perfect.

50:16.778 --> 50:17.979
[SPEAKER_00]: I can't think of anyone else.

50:18.559 --> 50:19.819
[SPEAKER_00]: who have played Joan Crawford.

50:20.200 --> 50:22.980
[SPEAKER_00]: This was her role to have and she did a great job.

50:23.060 --> 50:26.222
[SPEAKER_00]: So you guys go check out Mommy Dearest.

50:26.582 --> 50:30.603
[SPEAKER_00]: Like I said, you can stream it on YouTube right now, three, ninety nine.

50:30.643 --> 50:31.863
[SPEAKER_00]: You can rent it, four, two, nine, and nine.

50:31.903 --> 50:32.484
[SPEAKER_00]: You can buy it.

50:32.884 --> 50:34.064
[SPEAKER_00]: But this is a film to watch.

50:34.084 --> 50:38.906
[SPEAKER_00]: And then when you before you watch the film, though, go watch a Joan Crawford biography.

50:39.466 --> 50:40.726
[SPEAKER_00]: Pull it up on YouTube.

50:40.746 --> 50:41.747
[SPEAKER_00]: I did that as well.

50:42.207 --> 50:43.247
[SPEAKER_00]: Watch the biography.

50:43.327 --> 50:45.288
[SPEAKER_00]: Then go and watch the film so that you can see

50:46.308 --> 51:07.810
[SPEAKER_00]: well they did and I also want to really give props to the people that work behind the scenes to make up the makeup that they did on Fay to age her from when we first see her in the thirties or forties to where she's at in this sixty-seventies they did a great job making her aged throughout the film and her hairdo's with

51:08.170 --> 51:10.813
[SPEAKER_00]: was perfect for the time period.

51:10.853 --> 51:16.838
[SPEAKER_00]: So you were able to know what time period it was by her hair styles and her clothing.

51:17.679 --> 51:19.260
[SPEAKER_00]: Wardrobe did a fabulous job.

51:19.300 --> 51:20.481
[SPEAKER_00]: This movie was shot well.

51:20.581 --> 51:22.823
[SPEAKER_00]: The stage of the house was beautiful.

51:24.602 --> 51:26.563
[SPEAKER_00]: You know, go take a trip back in time, you guys.

51:27.043 --> 51:28.244
[SPEAKER_00]: Go watch mommy dearest.

51:28.484 --> 51:29.424
[SPEAKER_00]: You will enjoy it.

51:29.764 --> 51:30.465
[SPEAKER_00]: You will laugh.

51:30.505 --> 51:34.406
[SPEAKER_00]: You will get where Amanda and I are just like, you know, goofing around.

51:34.446 --> 51:35.107
[SPEAKER_00]: It's funny.

51:35.207 --> 51:36.167
[SPEAKER_00]: It is over the top.

51:36.227 --> 51:42.430
[SPEAKER_00]: It's absolutely over the top film, but really get them to watch Amanda, you want anything you got going on.

51:43.210 --> 51:44.551
[SPEAKER_00]: You want to say anything.

51:44.611 --> 51:44.951
[SPEAKER_00]: Come on.

51:46.031 --> 51:46.812
[SPEAKER_02]: Oh, gosh.

51:47.172 --> 51:47.632
[SPEAKER_02]: I don't know.

51:48.136 --> 51:50.400
[SPEAKER_02]: I have lots of things to should be working on.

51:50.460 --> 51:51.842
[SPEAKER_02]: You can follow me out of it.

51:51.882 --> 51:55.588
[SPEAKER_02]: It's the grant at LP, YLLKIE.

51:56.189 --> 51:58.854
[SPEAKER_02]: It's where I close stuff I'm working on.

52:01.311 --> 52:04.854
[SPEAKER_02]: She will be.

52:05.134 --> 52:05.615
[SPEAKER_00]: She will be.

52:05.755 --> 52:07.216
[SPEAKER_00]: I hope you will come back.

52:07.676 --> 52:09.518
[SPEAKER_00]: Amanda and I will have to pick another film.

52:09.758 --> 52:11.219
[SPEAKER_00]: We'll bring something really good.

52:11.700 --> 52:17.785
[SPEAKER_00]: So far, the movies that we've been looking at are really great Hollywood films.

52:18.265 --> 52:18.666
[SPEAKER_00]: Let's see.

52:20.708 --> 52:21.549
[SPEAKER_00]: Thank you, Charles.

52:21.709 --> 52:22.189
[SPEAKER_00]: All right.

52:22.249 --> 52:23.070
[SPEAKER_00]: Thank you so much.

52:23.130 --> 52:24.311
[SPEAKER_00]: Really appreciate that.

52:25.172 --> 52:26.133
[SPEAKER_00]: We love doing this.

52:26.173 --> 52:27.414
[SPEAKER_00]: We love talking about film.

52:27.454 --> 52:30.236
[SPEAKER_00]: So we'll get together and cook up another good film.

52:30.276 --> 52:32.498
[SPEAKER_00]: So we can bring it to you guys really, really soon.

52:32.518 --> 52:36.362
[SPEAKER_00]: I appreciate you Amanda for always coming on the show.

52:36.382 --> 52:40.345
[SPEAKER_00]: You guys will be able to link up with Amanda.

52:40.826 --> 52:43.168
[SPEAKER_00]: All of her links will be in the description.

52:43.228 --> 52:45.450
[SPEAKER_00]: You can go to our website and go to our Instagram.

52:46.010 --> 52:46.970
[SPEAKER_00]: Go and check out Amanda.

52:46.990 --> 52:47.951
[SPEAKER_00]: She's very talented.

52:48.011 --> 52:50.332
[SPEAKER_00]: She's very humbled, but my mandate is very talented.

52:51.012 --> 52:53.053
[SPEAKER_00]: She has some rules that she does.

52:53.093 --> 52:54.714
[SPEAKER_00]: She has little taste themes.

52:54.754 --> 52:59.596
[SPEAKER_00]: The still one about the candy and the stuff that you do.

52:59.616 --> 53:00.796
[SPEAKER_00]: Some of the stuff that you do.

53:01.696 --> 53:02.217
[SPEAKER_00]: Good quick.

53:02.717 --> 53:03.197
[SPEAKER_00]: There we go.

53:03.217 --> 53:03.577
[SPEAKER_02]: Yeah.

53:09.120 --> 53:09.360
[SPEAKER_00]: Yep.

53:09.720 --> 53:13.241
[SPEAKER_00]: So go and check out Amanda, a hugely talented.

53:13.261 --> 53:14.041
[SPEAKER_00]: She'll be back here.

53:14.062 --> 53:17.723
[SPEAKER_00]: I really appreciate you guys joining us tonight on movie lovers unite.

53:18.343 --> 53:22.584
[SPEAKER_00]: John and I will be back with a review of final destination bloodlines.

53:22.664 --> 53:23.744
[SPEAKER_00]: I cannot wait to watch that.

53:23.764 --> 53:26.265
[SPEAKER_00]: You guys know I love a really good horror films.

53:26.825 --> 53:30.126
[SPEAKER_00]: John and I just did a reaction to welcome to dairy.

53:30.586 --> 53:32.467
[SPEAKER_00]: That's coming out of this fall in October.

53:33.067 --> 53:36.268
[SPEAKER_00]: Stephen King, I cannot wait to see the prequel to it.

53:36.388 --> 53:37.589
[SPEAKER_00]: How it all got started.

53:38.049 --> 53:41.170
[SPEAKER_00]: So, John and I will be reviewing that weekly when that drops.

53:41.670 --> 53:45.431
[SPEAKER_00]: I believe it's on HBO, you guys, but they'll be coming to you soon.

53:45.451 --> 53:47.792
[SPEAKER_00]: Go over and check out Rossi's Clubhouse, you guys.

53:47.852 --> 53:54.255
[SPEAKER_00]: I just didn't interview with North Carolina, Sanger, Alicia Marie, absolutely talented.

53:54.995 --> 53:56.956
[SPEAKER_00]: You guys that interview is gonna drop on Monday.

53:57.396 --> 53:58.676
[SPEAKER_00]: You can go check out Somnay.

53:58.756 --> 54:00.297
[SPEAKER_00]: You can go check out Zosrilla.

54:00.797 --> 54:01.778
[SPEAKER_00]: from Brooklyn.

54:01.818 --> 54:03.180
[SPEAKER_00]: We just set an interview with him.

54:03.580 --> 54:04.602
[SPEAKER_00]: Penny Holyfield.

54:05.483 --> 54:06.884
[SPEAKER_00]: So much more you guys.

54:07.966 --> 54:09.087
[SPEAKER_00]: Check out Rossie's Clubhouse.

54:09.107 --> 54:09.708
[SPEAKER_00]: Thank you so much.

54:09.768 --> 54:10.449
[SPEAKER_00]: We'll be back soon.

54:10.489 --> 54:11.870
[SPEAKER_00]: You guys stay where you guys are at.

54:12.331 --> 54:13.793
[SPEAKER_00]: We're going to get out of here.

54:13.993 --> 54:14.874
[SPEAKER_00]: Amanda, don't leave.

54:15.154 --> 54:18.018
[SPEAKER_00]: Please stay in the back there and we are out.

54:26.689 --> 54:27.292
[UNKNOWN]: Thank you