The Extras - The Mask of Fu Manchu, Two of Coppola's Early Works, and Scooby-Doo Zombie Island Double Feature

Episode Date: June 5, 2024

Join us as we review four new May Blu-ray releases with George Feltenstein of the Warner Archive.Ever wondered how a 92-year-old horror film could still send chills down your spine? Discover the turbulent production and masterful restoration of "The Mask of Fu Manchu," featuring Boris Karloff in his first major horror role with dialogue and Myrna Loy as his chilling yet captivating daughter. Learn about the meticulous process that brought this pre-code gem to life on Blu-ray, using a stunning 4K scan of the original nitrate camera negative.As we shift our focus to the 1960s, we explore Francis Ford Coppola's early works, including "You're a Big Boy Now" and "The Rain People." Hear how Coppola's vibrant depiction of New York City and his exploration of feminist themes mark the beginning of his illustrious directorial journey.  George also provides background on working with American Zoetrope on the new 4K restoration.To wrap up, we touch on the highly requested Blu-ray release of "Scooby-Doo on Zombie Island" and its sequel, celebrating their timeless appeal and continued fan adoration.Purchase links:THE MASK OF FU MANCHU (1932)SCOOBY-DOO ON ZOMBIE ISLAND (1998) and SCOOBY-DOO RETURN TO ZOMBIE ISLAND (2019)YOU'RE A BIG BOY NOW (1966)THE RAIN PEOPLE (1969) Past Present FeatureA filmmaker appreciation podcast hosted by Emmy-winning director...Listen on: Apple Podcasts   SpotifyThe Extras Facebook pageThe Extras Twitter Warner Archive & Warner Bros Catalog GroupOtaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers. Contact us today to see how we can work together to achieve your goals. www.otakumedia.tv

Hi, this is Stephen C. Smith, documentary producer and author of Music by Max Steiner, the epic life of Hollywood's most influential composer. And you are listening to The Extras. Hello and welcome to The Extras, where we take you behind the scenes of your favorite TV shows, movies and animation and their release on digital DVD DVD, Blu-ray, and 4K, or your favorite streaming site. I'm Tim Larder, your host, and joining me today is George Feltenstein. This is part two of our discussion on the April and May Blu-ray releases from the Warner Archive.

In the first part, we talked about three films from the 1950s, The Devil's Doorway, The Nun Story, and Friendly Persuasion. And today we're going to talk about the rest of the films that came out in May. And that includes a pre-coded horror and two early films from director Francis Ford Coppola. And then we'll end up with a Scooby-Doo release. But I thought we'd start with the oldest film and partly because I thought it was so fun to start with that one.

And I suspect it was probably one of the, you know, most anticipated films as well by many people. And that's the mask of Fu Manchu. And it was just a, I mean, I personally, I thought it was a treat to watch this film. It looks terrific for being 92 years old. And it just plays as it's intended, a fun pre-code horror film. And you've got Carla finally getting a chance, not in Frankenstein garb but really this is his first major starring role as a horror icon with

dialogue and he chews up the scenery but in this case the chewing is welcome because the film is so extremely absurd that it is fun and funny and I think they probably had a great deal of fun making it. It has had an enormous following for years and years and years. Of course, the Fu Manchu character was used in other motion pictures over the years, as late as I think Peter Sellers' last film was a Fu Manchu comedy. But this particular film and Karloff's portrayal and the trappings of MGM, all come together for magnificence and the fact that the quality on the Blu-ray is so great. We're very, very pleased with that.

I knew the fans were going to be really happy about it. They're like, where is the Mask of Fu Manchu? It took us a long time to finish it because we needed to do so much work on it. But the reality is that we now have a gorgeous Blu-ray disc, and we're very happy about the fact that it's been so well received. Yeah, I was doing a little researching into it, reading how it was an MGM release where Karloff did the monster movies over there at Universal. This kind of came on the heels of Freaks, which we talked about not too far back.

How that film hadn't really done that well at the box office and they were looking for another one and pulled this, MGM pulled this one together because it was based off of the books. But it was a little chaotic. It sounded like scripts weren't necessarily finished for Karloff right at the beginning, but it comes out, what I'm watching now is a terrifically fun romp, so to speak, through that time period and this kind of adventure story. But I have to say I was kind of amazed at just how good it looks. Can you talk about that a little bit? Oh, absolutely. I mean, this is one of the rare situations where the original nitrate camera negative

on an MGM black and white film didn't burn in the George Eastman House fire in 1978. This original negative remained intact and unsinged and is the source of almost all of what you see on the disc. And the reason I say almost all this is very important is MGM got the idea in early 70s. I think it could have been as early as 1970, may have been as late as 72, but sometime in there they got the idea to re-release theatrically for children a few horror films, including The Mask of Fu Manchu. And they edited out about two or three minutes of scenes that they thought were not appropriate for children because they wanted

to get their G rating. It boggles my mind that this would have happened as recently as the early 70s. But MGM actually cut the original negative and cut those scenes out of the original negative. It boggles the mind that somebody didn't say, well, let's make a Duke negative to make prints and we don't want to touch the original. But they did. And that footage was gone. So as we did years ago for the DVD, we had to go to 16 millimeter material because that was the only surviving source available to us that had the missing moments, because it's literally just maybe two minutes of film at best.

But the reason it looks so great now is a 4K scan off the camera negative, and the little bits that were cut back in to restore the full running time are very obvious visually, but not as dramatically bad as the way it looked on DVD. This looks and sounds terrific, and I think that's so important. The response we've gotten has been so enthusiastic. And I just think not only does Karloff give us spectacularly over the top performance, but we have to be grateful for Myrna Loy as his daughter, because this is not the woman that would play Nora Charles less than two years later. She was always typecast in these exotic femme fatale roles that were

completely antithetical to what worked best for her. And meanwhile, the whole thing is a pre-code hoot. And it's great for horror fans. It's great for fans of pre-code. It just has something for everyone. It isn't like MGM to make a film that has such a risk pace and running time. That's more the Warner brand of bringing it in under 70 minutes. But they did a terrific job and that's why 92 years later the film remains so very, very popular. Yeah, and I think when people have the chance to see this new HD version, hopefully we'll bring a whole new fan base again, you know, to these. We've talked about this so many times, how seeing them with the restored HD, you just lose track of how old they are.

You just get caught up in the storyline and how great the performances are. And you also get a great look at kind of production value with the costumes and the sets and everything. So you get a really good look at that here in the HD. So yeah, I think it was a great release. And I've been telling people about how highly I recommend this lately on Facebook and everywhere because I just think it's a lot of fun. And you have a really good commentary on here with film historian Greg Mank, which I listened to. And he just has so

much great kind of background information about the film, the period, Karloff, what's going on. kind of background information about the film, the period, Karloff, what's going on. His commentary is sensational. Any commentary he ever did for us was sensational. This was done for the DVD about 20 years ago, but we ported it over because nothing has happened since then that would warrant anything new. Gregoretti did the job, but his knowledge is so in depth. His insight is really quite remarkable. It's an example of when a commentary by a real film historian creates a whole parallel entertainment experience watching the film

with the commentary. You know, what we have nowadays are many commentaries from film historians, but where did they earn that name? What makes them a film historian? Greg Mank is the real deal and he really has proven it in not only commentaries he did for us, but also for other companies as well. He's brilliant. And I think we're so fortunate to be able to have carried that commentary over

for the Blu-ray. And fans are certainly excited about that too. Yeah, yeah, it's really good. And then I watched the two classic cartoons, and they look terrific. Were they both remastered in HD as well? And then I watched the two classic cartoons and they look terrific. Were they both remastered in HD as well? Yes, yes. They are both remasters, 4K scans off the camera negatives and they're black and white and not seen very often. I like to put MGM cartoons with MGM features and so forth and so on, but MGM was not making

their own cartoons in 1932. They were distributing cartoons produced by other people, which then the rights were averted to the other people. So I'm being kind of studio agnostic in finding what would be good, appropriate, fair to recreate going to the movies in 1932. And you can have a lot of fun with them. Absolutely. Yeah.

They're terrific. This is just a great release, highly recommended. And we don't have to talk about the plot or anything because we don't want to give away any spoilers, but it's so entertaining. And I think fans of the film will of course love seeing it here in the HD and anybody who hasn't seen the film. It's really worth checking out and adding to your collection. You know, if you like Karloff, you're going to enjoy him in this film as well.

So well, we're going to jump into the 60s now. And the next two films we're going to talk about, George, are by the same director, another icon of directing. And that's Francis Ford Coppola. But these are two of his earlier films, very early in his career. And he's been in the news just this week, you know, that we're talking here for his latest film, Megalopolis, which is premiered at Cannes. So it's kind of fun with all that in the news to be watching. I was watching, you know, these films, which are so early in his career. And the first film is You're a Big Boy Now from 1966. And I did not realize that, I think what,

this was his UCLA thesis project. I mean, we're talking very early on, like maybe his second film, but he's still a student. His first film was for the late Roger Corman. I would assume Roger Corman was involved. It was an American international horror film, Dementia 13, in 1963. And then he went being his master thesis film. And it was independently produced and released by a company called Seven Arts. Seven Arts was just about to buy out Jack Warner

and buy out Jack Warner's shares so that Warner Brothers became Warner Brothers Seven Arts. But that happened a few months after this film was released. When the film was released, it was released as a Seven Arts production. And you'll notice there's no Warner Brothers logo on it. Right. So it's been part of our company's library for 58 years, but it was not a Warner Brothers release. It became so by marriage, if you will. But Copeland made such an impression on people here that he was engaged to make Finian's Rainbow, which is available on Blu-ray from Warner Archive. And it is a film, I think it's a little bit underappreciated. It was very different for Coppola. But then again, the next film we're

going to talk about was his follow-up to that and it was as different as Night and Day from a big color musical based on a Broadway show and that's 1969's The Rain People. But before we talk about The Rain People, I wanted to ask you what you thought of your big boy now. Had you seen it before? No, I had not seen it before. And I I'm watching it and a few things just to pop out. I'll just kind of mention them randomly, but it's such a time capsule of 1966. And for a, for a guy who was born in Michigan, I mean, Coppola really has this kind of great feel for New York. Coppola really has this kind of great feel for New York and the shots just downtown as this young man Bernard played by Peter Kastner as he's going out on his own for the first

time, living in the city and everything. I loved it. I loved seeing all of those New York City street scenes, the life of the streets. And then it has that, I mean, it has so many of those like madcap elements, like with the chase through the department store. And even the different, I guess it was the whole landlord with Julie Harris as the landlord. I loved her as that landlord, this rooster. I mean, it's just kind of madcap in that sense, which I think a film was moving toward some of that during that era. And this is all me not even

thinking about the fact that he's so young when he's directing this. You can see somebody who's really both experimenting but pretty in control of their storytelling as well. And then I see how young he was. I'm like, wow, this is an amazing early film. He was 26 when he started working on the film. Yeah. He was, I mean, to be given a million dollars by 7 Arts, which is like $10 million now to make a feature that would not only serve as his master thesis in school,

but would also be something that they saw as something commercial because it was adapted. The story was adapted from a novel by Coppola and what you say is so true. This is filmed entirely on location in New York City. When I look at it, I was incredibly tiny when this movie came out. I have vague memories of when my family would take us into Manhattan and driving around somewhere around this era. But I love the way it captures Manhattan at that period of time. Because there were still very, very few films shot on location in New York.

And there isn't a lot of Hollywood slash commercial filmmaking that was done on location in New York. You start to see more of it in the 60s. And of course, by the end of the decade, you had movies like Midnight Cowboy, which the city is a major character in the feature. People were abandoning studio lots and shooting on location. This film is a very early representation Seven Arts was so behind it that it was sent to Cannes in competition. Yeah. Yeah.

And how Coppola was able to get great, well-known stage actors like the amazing Geraldine Page, who got an Oscar nominations for best supporting actress. As you mentioned before, Julie Harris and Geraldine Page's husband, Rip Torn, they're all in this movie. I have to think they worked for scale. Their performances really help give the film buoyancy and credibility.

And also have to note a lovely performance, wacky appropriately, from Elizabeth Hartman, who we've talked about before as the leading lady in Apache Blue. She's terrific in this movie. She's terrific in this movie. And it was very enthusiastically received at the time that it came out of representing a new kind of filmmaking. And within a few years, you started to see the first film directed by Peter Bogdanovich. Working with Coppola on the next one we're going to talk about as an assistant, and I think he may have worked on this as well, was George Lucas.

It was a very special time. The film captures that time and captures the angst of Peter Kastner's character trying to deal with becoming an adult around the largest and greatest city in the world, which was already starting to take a turn down the tubes. It is a great timepiece and it's also great entertainment. Yeah, and this is one of those stories where the main character, Bernard, he's not an active character. He's not a man of action. He's a young man and the world is kind of happening to him.

And he's being bounced here, there. He's trying to figure things out. And so having that great supporting cast that you just mentioned is so important and they do a terrific job. I thought Elizabeth Hartman was, she was fantastic. You know, she playing this actress model that at one moment is tender and another moment is just, you know, so harsh on him. But these are terrific performances. And it's a, you know, you look and you say, it's from a master director, and you've got these great performances.

How did this young guy who was not yet a master director get so many of these fine actors, but he knew what to do with them? You know, that shows already that he knew how to work with people of this actors of this caliber. Exactly. He commanded the respect and was so smart about going about what he wanted to do that that he was able to get these artists to contribute to their performances to this film, then probably someone else in his position of being a novice filmmaker, to some degree,

would not be able to do. It was because he had those names attached to the film that it brought more people into the film. They did open it at the end of 1966 in Los Angeles so it could qualify for the Academy Awards. It was really in the spring of 67 that it started to be shown around the country. It also has a soundtrack by the Lovin' Spoonful, which was a band at the time. They had some popularity for sure. The lead singer, I should say, was John Sebastian, who later became very famous for singing the theme song to Welcome Back Cotter. It's so much a timepiece and it's so very, very enjoyable. And we should just jump right into the Rain People, which is what, just a few years later in 1969.

Right. It had some of the great cast, just like we talked about here, which kind of, I guess, precursors, you know, are people he was going to be working with again later in The Godfather in terms of Robert Duvall and James Cairn. This is also, I thought, another real-time capsule of its time. Maybe part of it is the topicalness of the feminism of this lead character, who is this woman who she doesn't want, she's feeling the weight of of domesticity, you know, of the domestic life of being a mother and wife and all that. And she's, she's not sure that's what she wants. And she's pushing back and she needs to take a minute. So she leaves and she goes on the road. That was

so topical for that time period. She goes in her search for meaning and identity and all of these things. Then the story of all the interesting people she meets along the way is very entertaining. Stay with us. We'll be right back. Hi, I'm Marcus Mazzell, host of Past Present Feature, a filmmaker appreciation podcast showcasing new festival releases and the past films that inspired them. As a filmmaker myself, I started this podcast with the intention of building community while talking shop

and to show love to past cinema that sparked a new wave of filmmakers to create the films of the future. Please like and subscribe to this podcast and follow us on social media at past present feature. Thank you for listening. Let's roll it. Well, she was a magnificent actress. Right up until recently, she just passed away not that long ago.

But even as an elderly woman, she was still acting and giving remarkable performances on television. She would do guest shots on things and I think she might have even been doing some stage work in her later years, but she got an Oscar nomination for best supporting actress for Sweet Bird of Youth and that just got her on a trajectory. She never became a household name, but she was so respected as one of the great actresses of the era. And this is exactly what you say. It is a feminist film. This is before quote unquote women's lib, but we were on the cusp of it. But the country was changing so much, and this film represents that kind of change.

Because You're a Big Boy Now was so successful, Seven Arts signed Coppola to a multi-picture deal, and this was planned to happen once he was done with Finian's Rainbow and you know eventually they began shooting in the and it didn't come out until 1969, but it was really, really impactful in making an impression on the filmmaking community and what Coppola's differential voice was already so obvious and his genius

was obviously a mitigating factor in people committing to backing his work. Yeah. Well, both of these, the talk about the restoration for a second, both of these look terrific. What can you tell us about the restoration elements? Well, what's really cool about this is the original camera negative was scanned at 4K scanned it for K and then sent off to Zootrope, Coppola's production company and his own archivist oversaw these new masters in, of course, cooperation with us. It was a mutual benefit as Mr. Coppola wanted all of his films to be, looking and sounding the best that they could be. So we very happily entered into a partnership to get these two done.

Here they are now on Blu-ray. It was a big collaboration. You'll notice at the end of both this and Your Big Boy Now, there is a restoration credit from Zoetrope, which we thought was very important to keep on the film because this is really their work. We provided them with the raw scan, but all the work was done up in San Francisco in the Zoetrope headquarters. I was just so thrilled that we were able to bring these about because they really hadn't been getting the attention that they want from coming the Warner Archive collection on Blu-ray, because their initial DVD releases were through Warner Archive collection on DVD. And the quantum leap of quality growth between the DVDs we released 14, 15 years ago and these Blu-rays now is mighty.

And we're very, very proud of that. And I should also mention that James Kahn is the leading man in this film. And this is James Kahn before he reached incredible heights of fame because of another work of Mr. Coppola's film about a mafia family. You may have heard it. Godfather. But there were two things that propelled James Khan to becoming a big name. The first was a TV movie he did in 1971 called Brian's Song. Yes. And that was also one of the first TV movies to be so good that people said, Oh, this should have been in theaters, you know?

But it was a beautiful film and he made that just as he was about to start shooting The Godfather. So the one,two punch of Brian Song and The Godfather after that, James Conn was established as a major star and continued in that kind of high position until we lost him recently. And his film work lives on. He's recently, and that his film work lives on. He's remarkably multifaceted and tender in this film. I think he's just terrific. There's a lot of great acting in this movie. It's not a big cast, but we're talking about another graduate of the extended Corleone family because he was, Tom Hayden, Robert Duvall of course, is phenomenal in this film. Obviously, Mr. Coppola had great fondness

for him and found that role for him in The Godfather. And he's one of our great actors even today. So you've got a first class cast and a first class film. The film was not a big success when it was released because I think it was very much ahead of its time. It was a small film that was very personal and very much about a woman in 1969 confronting the conventional choices of life versus what she wanted to do with her life. And I think that's what's so striking about it.

Well, it's fantastic that these two films now look so good that they've come out on Blu-ray for, I think that fans of Mr. Coppola's work will obviously want to have them in their home library. But for people who just enjoy these films and the work of these actors and a master filmmaker like this, these are terrific. And to know that you guys worked in conjunction with American Zoetrope, I know that they do fabulous work. I talked

to them a few years back about the Godfather work that they did. And I know how important every frame of film is for them in that restoration process. So these look terrific. So it's great. We held back the release of these films so that it would be around the same time of Megalopolis because we knew that was going to be putting Coppola's name at the forefront of people talking about film and so forth and so on. So that is attributable to the timing, because we really thought it would be important for people to see his other work.

people to see his other work. So many of his other films are so famous and renowned. Besides The Godfather, The Conversation, Apocalypse Now, and these small films helped to build his career leading up to some of the most spectacular successes that he had. He seems to be making a lot of noise now with his new film, and that's exactly what we hoped for him. We're happy to have been a part of it and working with the fine people at Zoetrope to make it happen. So I hope you will enjoy the Blue Race. What's so important about that is in general, his filmography is not that large. Right. For how well known he is, you look, and he's taken his time with many films.

That's part of it, of course. But it's not a large number of films, but there's so many in there that are just considered classics, of course. So... Well, it really is not unlike Mr. Kubrick. He made very few films over his career. He sometimes went, you know, seven, nine years in between movies. You know, he only moved forward when he felt it was right. And I think Mr. Coppola has taken a similar tact with, you know, making a film that he

has a fire with inside him about. And the results are always of great interest to the film community and to people who love cinema. Yeah. Yeah. Well, the last film we're going to talk about today that was released in May is a double feature, George, and it's a Scooby-Doo double feature. And I think in our previous conversation, you said this was a highly requested Blu-ray.

Oh yeah. For all of the vast numbers of Scooby-Doo fans out there. But Scooby-Doo on Zombie Island from 1998 and then the sequel from 2019, Scooby-Doo Return to Zombie Island. I'll just give you my first impression of it is that Scooby-Doo on Zombie Island, I mean, it's terrific. It's probably, it might be my favorite Scooby-Doo on Zombie Island. I mean, it's terrific. It's probably, it might be my favorite Scooby-Doo film. It's definitely right there in the top three. I just think it hits all of the right notes. It just, it just tells the story of the gang, Scooby-Doo gang in a wonderful way. And it has the things that you want out of Scooby-Doo

movie. The scares, the villains, the ghosts, all those things. But it just has a great pacing, great tone. And the characterizations in this are fantastic, the setting. And then when you look at this, I'm not the only one who thinks this, people are already commenting. The image is fantastic. It looks terrific. It does. And I mean, that's the major attraction here is Scooby Doo on Zombie Island.

The follow-up film Return to Zombie, is almost there as an extra because there had been almost 20 years that had passed between the two and different creative people were involved. I don't think the core Scooby-Doo fans have the same affection for the follow-up film that they do for the original. But we were able to put both on the same BD-50 disc with an outstanding bitrate and high quality. It's there if you want it.

I've learned more about the Scooby-Doo fan community and they are all different people with different likes and dislikes but there are a few of these Scooby-Doo films which were made for video and or made for video and television. And it really resuscitated new interest in Scooby-Doo. And it was a byproduct of Hanna-Barbera had been purchased by Turner. Turner was purchased by Time Warner. Once Hanna-Barbera and Scooby and everybody else in the Hanna-Barbera universe were part of the Warner Brothers universe.

People here got very excited about the continued popularity of Scooby-Doo. If you look back, the character of Scooby- is now 55 years old. And I can't think of any animated character that has gotten so many different iterations and series and movies and changes and live action movies and animated and live-action movies and animated movies and made-for-TV, animated and various series, there seems to always have been new Scooby. And you've got, I would say, three or four generations of people that grew up with various forms of Scooby-Doo. But here, they hit on a formula of really good storytelling with Zombie Island.

Yeah. They were able to go beyond Scooby-Doo being just for little children and make it just a little bit more edgy, that through animation they could tell slightly scary stories and yet maintain the humor and at this point in nineteen ninety eight. When scooby doo on zombie island came out. Scooby Doo on Zombie Island came out. Bill Hanna and Joe Barbera were coming to work every day with Hanna Barbera productions now

under the umbrella of Warner Brothers Animation. But Mr. Hanna came in every day until he died, and a few years later, Mr. Barbera died, but until they passed away they were coming to work every day and they had direct oversight and involvement in the creation of all these different Scooby iterations and I think there was a great deal of support for Zombie Island because the movies that came afterwards were very similar in tone. And I think you might call this the golden age of Scooby-Doo telefilms, you know, for lack of a better way of putting it all together. They just had all the right ingredients to make something that people are passionate in their love for it.

Yeah, it's a, I'm sure you've already had so many great reviews from the Scooby-Doo fans because of how good it looks and it's just great to have it out on Blu-ray for the fans. So I just can't recommend it highly enough for Scooby-Doo fans. I've seen a lot of them because as you know, I worked when I was there. I worked in all of these. That was under my... Scooby-Doo was one of the, you know, if there was a Scooby-Doo project going on that I worked on. So I worked on a lot of the newer ones, not the one from 98, but these newer ones. And the newer ones have a different tone because they're in a different decade. There's a different style of writing. There's different style of storytelling. But when you go back and you watch this one from 98, to your point,

it's the classic, you know, it's got that, it's just that right era. It's still got the touch of the masters, so to speak, on it and that voice cast that we all love. So, you know, things change over time in each generation. And the beauty of this Scooby-Doo gang is that kids of all generations who then become adults seem to enjoy the characters, the storylines, the scares. You know, you get scared as a kid, it sticks in your mind, you enjoy it as you grow older and you can still find enjoyment there. So it's great. It's fun. Kind of saved this one for last because it's the most recent and it's the only animation we're talking about this month. But it's a terrific release and just rounds out what

is a terrific April and May release schedule for the Warner Archive. Indeed, indeed. We're very proud of it. And we've already announced, we've talked about it here on the extras, what we have coming up for June and we're putting the last finishing touches on those and it's going to be another exciting month of releases when we next go over them individually. Well, as always, George, it's always a lot of fun to talk through these movies and I've told you just how much I enjoy watching movies and then reviewing them with you. So thanks for coming on. It's always a lot of fun. Well, my pleasure. It's always something I look forward to. And once again, thank you to our fans, our consumers who support our releases. We couldn't stay in business if

it wasn't for their support. And the fact that we're running a nice profitable little business is directly a result of their sharing our passion to bring out all sorts of different kinds of entertainment with the best possible quality. As I mentioned earlier, I did break up my discussion with George about the April May Blu-ray releases from the Warner Archive into two different episodes. So look for that if you haven't had a chance to listen to the other reviews for this month. Well, it's always great to have George on the podcast to talk about and review these

releases from the Warner Archive. And in April and May there were seven terrific Blu-rays that I think everybody out there will enjoy. I'm sure you can find one or two that you might want to add to your home collection. And if you would like to do that, there are purchase links in the show notes and on our website so that you can buy those and add them to your home library. If you aren't yet subscribed or following the show, please do that. It helps support the show and it also keeps you informed for everything that's coming up. Until next time, you've been listening to Tim Millard, host of the Extras Podcast, and I wanted to let you know that we have a new private Facebook group for fans of the Warner Archive and Warner Bros.

Catalog physical media releases. So if that interests you, you can find the link on our Facebook page or look for the