blood and black rum podcast hi, mom!

blood and black rum podcast hi, mom!

Blood and Black Rum Podcast

·June 29, 2026··74 min read

Blood and Black Rum Podcast: HI, MOM!

Episode: 363 • Duration: 01:24:12

We’ve got two firsts on this episode: a Brian De Palma film, and a Robert De Niro starring role. We’re talking about 1970’s Hi, Mom!, a unique experience from De Palma that ranges from topics like home video, voyeurism, the Vietnam War, the Black power movement, and a lot more. We break down the elements in this surprisingly complex movie, and ultimately talk about how truly funny it is.

We’re also drinking Saranac Brewing’s Wildberry Ale!

Approximate timeline

0:00-11:00 Intro

11:00-20:00 Beer talk

20:00-end Hi, Mom!

Next up: we celebrate America’s 250th with The Patriot!

Hit that play button above to listen in.

Transcript – HI, MOM! (auto-generated)

Click to expand full transcript

0:01

Oh, my God damn door.

We’re gonna have any perverts here.

What’d you say?

What’d you say?

What do you mean?

The front of yours.

What do you protest?

Let me see A permit.

You don’t need a permit.

What do you mean?

What’s that?

Against the war of Vietnam.

Let me tell you something, son.

0:17

You ever been in Vietnam?

Well, I have, and I know what it’s like.

Oh, yeah.

You know what are you, 2 years old?

You’ve been in the Army.

And you’ve been in the Army high school.

What?

What’d you say, young lady?

Make Love, not war.

Listen, I Make Love very well.

What do you know about love?

What do you know about war?

You.

0:34

Don’t even wear a damn proceed, you little slut.

Goddamn bitch.

What?

What’d you say?

What are you going to do about?

Listen, son, I happen to know that you don’t have a permit here, so I’m going to tell you, son, you could touch my bat.

You touch my bat.

1:28

Hey guys, welcome back to the Blood and Black Run podcast.

Ryan from closesplotation.com and I’m joined with my Co host Martin.

How’s it going?

We’re doing pretty well.

We are fresh off our our last gay episode of of the podcast and I think we’re moving a little bit towards July 4th and sort of the celebration of the America’s 250th anniversary.

1:52

And this episode is sort of related to that and kind of kind of blends in with sort of that idea of American culture.

But we are kind of here with like a, an offshoot episode or a one off that we, you know, we didn’t really have a theme for.

2:08

We’re kind of getting back into that area of territory.

We’re just kind of like, Hey, random movies that we want to cover and consider.

So we’re kind of into that and, and taking recommendations too.

So like we always say, you can write to us a blood and black Rum podcast and let us know what movies you want us to consider.

2:24

I know we have a couple that are still kind of sitting somewhere there in the docket.

I know cemetery man has been bandied, bandied about De la Monte de la Mora in Italian or whatever.

But yeah, so, so we’ve we’ve got a couple on the docket.

2:41

But if you want to write in a lot of snow of any others that you want to cover, now is the time because we’re kind of within seasons of thematic stuff that we’re doing.

So.

But anyway, yeah, we’re we’re back today and I think we’re tackling kind of an area that’s been missing from the podcast.

2:59

I don’t know that we have done.

Have we done a Robert De Niro movie?

Can’t remember.

No, I don’t think so.

I know nothing’s coming out.

I mean, we haven’t done anything like Meet the Fockers, so that would be wonderful.

3:16

So.

So, yeah, we haven’t gotten it.

Some of his best works in here.

We’re good, is what I’m.

Saying De Niro and Pacino month and it’s just going to be like, you know, hey guys, we’re going to do 1 of Al Pacino’s finest roles in whatever the fuck that Adam Sandler.

3:31

He was right.

Yeah, that’s what I’m saying.

I’m saying we we need to get to their best work.

I don’t know about all this other stuff that they’ve done, you know, in the past and they’re and they’re younger in, in their younger age, but most of the time actors in their younger age, they they haven’t done their best work yet.

3:48

We have to get towards Meet the Fockers and some of the other things that De Niro did in his later life to to really hone in on his best works.

You’re not dead yet.

You’re.

Like about to like, you know?

No, I said in his later life with the man, yeah, the man keeps ticking.

4:03

So I and I love it.

I love that he keeps ticking.

I I’m not saying not saying anything disparaging about the man in his older years.

Of course, in the other, the other the other gap that we’ve we’re filling is I don’t believe that we’ve ever done a Brian De Palma movie either.

4:19

We are.

Not.

No.

So it’s another gap, you know, even something as simple as carry, which we, you know would be in our immediate wheelhouse, we have not done yet so.

How versed?

In depala malaria, how I’m not very not very.

4:35

I’m not not super versed in it.

So yeah, it’s.

For such a prolific director, I’ve only seen.

Like a couple?

Carrie obviously see The Untouchables a billion times.

I’ve seen Scarface a billion times.

4:52

I’ve unfortunately seen Mission Impossible and I have seen Carlito’s Way, I think.

Yeah, I’ve seen Raising Kane and a couple others, but yeah, not too much.

Not too much from De Palma.

Yeah.

5:07

So it’s interesting that we are covering this movie in particular because it is one that I’ll be honest with you, I had no idea existed until until it came my way.

And it came my way because I, I got it for review from Radiance Films, who has just recently released this movie on a 4K Blu-ray combo pack for it’s, what is it like 50-6 years now, 56th year anniversary of the film.

5:40

So again, I, I had no idea that it existed, but it’s but for for, you know, actual De Palma fans or, you know, people who are really widely versed in cinema, especially from the from the 1970s.

They probably are aware of this movie from De Palma and Robert De Niro.

5:57

And it is part of a couple of movies that the two of them worked on together.

And this one is actually a sequel on the first film in this this duology was called Greetings.

And unfortunately, I’ve never seen it.

6:13

I know Martin hasn’t seen it either.

And we’ve never done it for the show.

So we’re kind of a kind of a, you know, messing around with our usual, you know, format of tackling the first film first, obviously.

But either way, I don’t think it’s that big of a deal.

6:30

I don’t think we’re missing much context in in the scheme of things.

So we’re doing the sequel first, but after watching it, I think we would be interested in doing the initial film too.

So that’s true.

I’m sorry, I’m sorry.

I shouldn’t, I shouldn’t, I shouldn’t speak for you.

6:47

I guess we’ll get to that point later on and we’ll you’ll you’ll tell me if the if that’s the case.

But so the movie that we’re talking about today and we’ve kind of beat around the Bush quite a bit is called Hi Mom with an exclamation mark, of course.

Yeah, you can’t forget that.

And it’s part of the title.

7:02

It’s not hi mom.

It’s hi, Mom.

Yeah.

And you know, as Robert De Niro would say it hi Ma.

Yeah yeah, you got it yeah.

I mean, I, I assume that they, you know, obviously did that on purpose, but you know, you got to give it the De Niro ISM to to really get that across.

7:20

But yes, Hi Mom from 1970.

It is a, you know, again, like we said, it is part of the duology of the greetings and Hi Mom duo and Robert De Niro plays the same role in both this guy named John Rubin with some similar what I’ve seen is some similarities in terms of the the thematic elements.

7:45

But Hi mom really goes in a much more specific direction for this idea of voyeurism, you know, social justice and specifically tying into sort of the idea behind the Black Panthers movement and, and some of the ideas of like proliferation of home video and the ability to film, you know, when especially a lot of people at this time did not have access to wide access to video cameras.

8:15

And it’s sort of was at a time where people started getting more and more access to video cameras that they didn’t have before and, you know, kind of filming their lifestyle and their life in general and society.

So really interesting ideas.

Sort of a movie that is not really widely talked about.

8:34

I, I don’t know, like you said, the Palma has a pretty prolific filmography and this is not one that really often comes up, I feel like in when people are talking about De Palma cinema.

I don’t, I don’t know if that’s the case for you where you’ve, you know, never really heard people mention this one in particular, but I’ve never heard it in like common discussion.

8:55

No.

And I’m also, you know, big admirer.

I’m not big like, you know, you, even though the films I’ve seen by De Palma, I can’t, I won’t say I’m a big fan of his work.

You know, the films I, you know, sad, like they’re all, you know, pretty huge.

9:11

So De Niro, you know, I loved big De Niro fan, but the man’s been like 1000 things.

So.

And I could probably say this wasn’t something that was, you know, on my radar.

And in fact, I had to ask you.

9:27

I’m like, hey, what are we doing?

You’re like, we’re doing the Hi, mom, remember?

And I was like, Oh yeah, like it totally.

Like, you know, exited my mind when you’re.

Like, Oh yeah, the name’s not memorable.

Yeah, I mean that just like, just like, just like.

You know, when you said it’s like, OK, like, you know, threw it in the pantheon of in my mind, like when it comes to like kind of review this 1974 Italian Z movie that’s a RIP off of of, of guess who’s coming to dinner with zombies, You know, and they got somebody that almost looks like Sidney Poitier to be in the phone.

10:06

Yeah, yeah.

I think, you know, again, like I said, this movie, well, part of the part of the thing too, is like, interestingly enough, I think you said that it’s on Tubi, right, Right now.

According to when I googled where to watch it was it says Tubi.

It’s on YouTube for free.

10:23

Right, which is kind of an interesting.

I don’t know if it’s under the YouTube banner, but somebody’s got like a perfect.

It looks like a good RIP of it because it was like one of the first things that popped up.

So which I think is interesting because, you know, again, probably some of those more popular diploma films are just not going to, you know, you’re not going to see it on Toby, right?

10:41

Like it’s not going to be available, Which but I think it’s interesting because Toby a lot of times does have some of the more some of the work that you really are interested in.

Whereas like some of these other streaming services, you go on there like a crappy 2024 movie, crappy 20, you know, and then you’ve got something like Toby that’s like really doing the work in terms of like archiving specific movies that you might actually want to watch.

11:08

I like I said, I don’t know how good like the RIP is on too, because we’ve watched I’ve watched films before on Tubi that we’ve done better less than known.

Like when we did, you know, Saxon saw win the bees on there.

You know, they didn’t bother, you know, trying to you.

11:24

Know yeah, it was just the.

Better.

So it’s probably the same thing, but again, I applaud it because again, they’re committed to the bit.

Yeah, that’s what I’m saying.

They’re going to have exploited, you know, the, you know, grungy exploited films that, you know, people, yeah, that are niche.

11:43

And if you’re like, you put it in that machine, it’ll probably be on there’s, you know, 8 out of 12 months of the year.

That’s right.

Yeah, it’s pretty cool, Pretty cool.

So yeah, I think you can go and check us on that.

But I I think Tubi has high mom on there unless it, you know, I got pulled because Radiance was releasing it in the United States.

12:01

I don’t know.

So, but anyway, yeah, it’s it’s gotten released widespread and 4K and that’s what we watched it on.

So yeah, let’s take a break really quick before we really dive into the movie.

Talk about the beer that we have on the show today.

I’ll let you take it away.

12:17

You’re the one that picked it out.

What’d you grab for us today?

Well, excuse me, Jesus.

I don’t know what’s going on.

Yeah, it’s summertime and up here in upstate New York, that means that Saranac summer pack is out.

12:34

That’s right.

And so even though every time we do a Saranac beer, we’re always very sad now because the quality has tumbled into the ground, they actually had a summer pack that was interesting because there was only one returning beer in there and everything else was new.

12:52

Yeah.

Because usually they have the blueberry blonde in there, which I’m not a big fan of, but they had three new beers in there.

One of them is a hazy Peach IPA, another one’s pomegranate wheat ale, And what we’re doing today, Wild Berry Ale.

13:10

Now, when you look at the label, it says bountiful, beautiful bowl of blueberries and raspberries with a nice Adirondack lake and, you know, nice Adirondack pine trees.

And you’re probably sitting to yourself.

Well, they already have a blueberry blonde ale.

13:28

What?

Why do this?

And the answer is simple.

How do you make the blueberry blonde that sucks better you put raspberries in it.

You had another Berry, another better, another better Berry.

Yeah, I love blueberries, but the taste of that blueberry, it just and the way that they make their ale, it doesn’t.

13:51

It’s not the blueberry per SE.

It’s the way like it’s all rounded out as a beer.

And so with that being said, I do like this quite a bit.

I think this is really refreshing.

This I think would be much better served to be in a six pack or 12 pack.

14:07

On its own, this is much more enjoyable.

It’s much more easygoing.

The blueberry and the Raspberry are paired very well together.

You get both of them, they mix well, it’s delightful.

It’s easy to drink, crisp, refreshing like it a lot would have been cool thing like I was expecting more than just, you know, blueberry and Raspberry.

14:30

You’d expect like maybe BlackBerry to be there too, but it’s not, which is sad, but you know, small steps and so no, I’m very pleasantly surprised by this one.

I’ve had all of them so far in the back and this is the this is my favorite.

The best of the bunch.

14:46

Good to know.

Yeah, I I’m going to agree with you.

I think that this is a refreshing beer.

The wild Berry flavor is something that I think works really well.

You know, I’m I’m a fan of wild Berry and pretty much any kind of scenario Pop Tarts, you know, anything that says wild Berry and the wild Berry element to that, that phrase is sort of like always means like Raspberry, blueberry, BlackBerry.

15:10

So I would agree with you in that I do think BlackBerry is a missing component of what you’re calling wild Berry.

I don’t know if that’s an official moniker.

Wild Berry means all three berries, but to me that’s what it means.

And so I do feel like it’s a little bit missing.

15:28

But I will say that I think together the the Raspberry and the blueberry do work really well together.

The beer, the beer does have a little bit of like bitterness and the after taste that maybe I think could have been smoothed out maybe just a tad.

It might be just the ale quality of what however Saranac is making this.

15:47

But it does give a a little bit of bitterness that I think they could have managed better.

But other than that, I think this is a really for refreshing fruit beer.

I think it works really well and like you said, I think it’s a complete misstep to not have this in a six pack form or like a tall boy, you know, and kind of really market this as a different summer type beer that they have, you know, for their mainstay in the summertime.

16:11

Because I do think it is one of those beers that would really do very well in a more widespread option than just in a like, you know, mixed pack.

I think people would really flock to this more.

I could see a lot of people like shoe bees that are coming from downstate and Jersey up here, yeah, you know, enjoying a nice tall boy on their pontoons and nice boats.

16:34

Yeah, yeah, I, I do think like if this may be an experiment and they may find that it is a popular one and maybe that like next year we’ll we’ll be seeing Wild Berry is more of a widespread release.

But I, I do think that this is one of those types of beers that they should look at branching out for, for the summertime.

16:57

I think it’s it would be a success to do so instead of like where did what is the what is the main summer beer that they’re putting in there now?

It’s blueberry.

That’s just there.

Yeah, that’s just the standard, yeah.

Yeah, it’s been like the bog standard for over a decade.

Yeah, I, I, I think they need to, to branch out and do this wild Berry.

17:15

I think it would be wildly popular in my opinion.

So, yeah, check it out.

I don’t know how widespread Saranac is getting now.

I think it’s definitely in the, you know, New York region.

I think it gets a little bit further than upstate at this point.

17:31

So I.

Guess it might be probably just like New York, probably parts of New England, parts of like northern Pennsylvania.

But if it’s around and you see it, give it a shot.

Give it a.

Try definitely, definitely worth it.

17:50

All right, so let’s talk.

Hi, mom.

Hi, mom.

Hi, Mom.

In my head, that’s all I can think of.

It’s like Andy Richter saying it.

Hi, mom.

Hi, Mom.

You know what I also would like to say shout out to my mom.

Hi mom.

She’s listening, listening from heaven and on the airwaves, God’s airwaves up there.

18:13

Hi mom.

I’m not being a Debbie Downer.

I’m being a believer.

Believer.

No, but I am saying hi, mom and I I think I like that.

I like that idea.

This movie is a really interesting the Palma movie in a lot of ways.

18:34

But I think one of the biggest things that we we should point out like right off the bat is this movie.

If you try to watch this movie as sort of like a traditional narrative style for a little while, it kind of it kind of melts to that idea.

But at about like maybe the 1/3 of the way through or maybe even more towards halfway through, I didn’t really clock it.

18:55

It starts to take on a more of like a, a sort of a vignette style, I would you say?

Would you agree?

Yes, and I I think it is to the film’s detriment.

I I would agree with you as well.

I’ll, I’ll go that far to say.

Yeah, I like, I’m not saying it’s a bit like bad, but I think it is one of the weaker parts of the film because it goes from having like a traditional narrative and it’s going and then it kind of just spirals into the documentary and just like going and going and going and going until kind of like dotting it at the end and.

19:36

I think your.

Mileage is going to vary on like how much you can enjoy that disjointedness.

And historically, I think as I.

Say, especially because that whole part with as we’ll talk about the documentary is like a good 20 minutes.

19:54

Like it like, you know, it’s a good chunk of this film, so it just kind of woo when you do get the little things of like John’s doing this, John’s planning, you know, so like it does give me more of a vignette, you know, like dinner theater quality to it.

20:12

But like it is I I would say like a weaker point of the film because it makes the whole overall.

Narrative structure this unnecessary Tarantino, as you know and.

20:27

Again, to like you mentioned, like those placards that come up the, you know, the the text that says like John is plotting out to the second his encounter with, you know, I think like those don’t even come into play until later on in the film either.

So it’s not like we start off with this sort of thing like John, you know, seeks advice from a erotic production, you know, filmmaker.

20:51

We don’t get that from the beginning.

So I would agree with you.

I think, and I think that that historically, from what I’ve seen, that is the criticism specifically of Hi Mom, is that some people do really enjoy the sort of vignette style that it adopts towards the, you know, the middle portion of the movie.

21:07

And some people really dislike the disjointed nature of the movie.

And I will agree with that.

I think, you know, as we start off talking and we’re kind of really jumping into like the nitty gritty of it, I will agree that I do find the film and the narrative, you know, pretty messy and disjointed quite a bit.

21:25

And then the, the structure of it, I think is probably going to be the most difficult part of the movie for most viewers.

You know, again, this the movie is going to either appeal to you from a socio political spectrum or it’s not going to.

21:42

So I think from that regard, like you, you kind of have to get through that piece of it too.

But, you know, from a, from an actual narrative arc or perspective, I, I do think that this will be off putting to some people who, who do not drive with the, you know, the, the narrative disjointedness of how Dipalma structures the movie, especially towards like the end of the movie where it’s, it’s very much slipping away from a narrative style into more of a, almost like a vignette or even, you know, to the film’s theme play like in certain ways or skit.

22:16

Like, I think it’s intentional, but I do think that it is probably going to be a really divisive way to watch the movie.

Like you’re either going to like it or you’re not the like.

Improv like feel to the narrative makes it like by the end, like an LSD trip of like falling down the rabbit hole.

22:39

And again, it’s not like an awful thing that’s like makes it.

I think it’s just to the film’s detriment that they don’t start with that.

Like if you started off the film like when in the beginning of, you know, him talking to like the Super and like, you know, John’s looking, you know, this our protagonist is looking for, you know, a new apartment.

23:00

It would because it just kind of like doesn’t add to like the humor doesn’t add to like, you know, the the comedy on it.

It just makes it seem a little unlike, you know, unnecessary, which again, the film is intentionally like a beautiful mess.

23:21

It’s, you know, it’s, you know, Shotwell looks great and it’s intentionally messy, but I think it’s just, you know, it’s.

Yeah, it’s just.

Something I didn’t like, you know, fully get behind on that part.

I think too, you know, as we start out at the beginning of the movie and you kind of get this really hilarious montage of them.

23:41

You know, Robert De Niro’s character, John Rubin, he’s trying to move into this apartment complex, which is basically just a large set of, you know, slummy kinds of apartments in an area of New York City.

Hold on.

This was when did this come out?

24:00

1970, it was the the year that it was released.

I believe that at copyright 69 didn’t come.

Out on Tuesday after the Socialist won New York, Yeah.

Right.

Exactly.

Turn the city.

Into a hell, hell, hell.

24:15

Yeah, Yeah.

I think that that I was expecting.

In the beginning, like when we see, you know, New York, for it to say like underneath, like mum, Donnie’s.

Yes, or even, you know, it should be like, well, we’re not there yet, but like Bronson’s New York because, you know, it’s another another good one.

24:33

I think like that that whole first bit is really funny and it kind of cements this really sort of we’ve talked about this on the show before because of sort of these types of movies that are set in New York City and this sort of griminess is really up our alley like that.

24:49

We love this kind of thing.

I love the very distinctive griminess of New York’s, you know, 60, late 60s, early 70s New York City, you know, the aesthetic that it puts off.

And I we, you know, we’ve talked about this, I think at length, but this film has it too.

25:07

If we were, if we were to you’re.

Jumping right in right off the bat.

Yeah.

Like, again, like with the whole, it’s not just he’s at this grimy apartment.

He’s looking for the Super in a pile of trash, basically.

And he’s fucking got like a fucking drink and a smoke and his wife beat her on.

25:23

And he’s like, you know, sifting through garbage.

And De Niro’s like, hey, I’m looking for him here for the apartment.

And the guy’s like, hey, what do you want?

What do you want?

You know, so it’s like, and I’m surprised they shot that during a bright sunny day.

I didn’t know the sun.

Oh, you know, shown in the New York in the 70s.

25:40

You know, I was under the impression it took until you know, Giuliani took over the city for the for the haze to.

Go away.

Yeah, yeah, I think, you know, like the they open up the the freezer, whatever and there’s cat shit in it and they’re like, what the is that?

25:58

Who’s that?

No, it was in.

It was in the freezer.

It was that part.

Yeah, it’s a It’s your sink and your pan.

Oh yeah, that’s right.

Yeah, the sink, and yeah, it opens up and it isn’t fucking litter.

Which is funny too, because if you’ve ever smelled cat shit before, you know it smells like shit.

26:16

So you wouldn’t, somebody would have been able to, you know, well.

Apparently it maybe it smells so bad in there that you can’t really determine the the source of the terrible smell that’s coming off.

It’s great, though, like again, I love this like sort of griminess.

It’s really sits very well in this movie.

26:31

It’s something that you can’t really replicate.

Again, like you, you couldn’t you couldn’t go out and say I want to, you know, really just capture the same aesthetic that a movie like this has.

So you’re really going going?

Through that when they’re going to the door and the fucking thing’s coming up and.

26:47

Supers.

Like I’m going to have to fix.

And, and the one thing I love about this too is it’s really funny is that, you know, like there’s a, a part later on in the movie that is actually kind of distinctive for the ideas of the movie about this, like this culture of being able to have a video camera for yourself and kind of shoot your own movie.

27:08

And you know it in, in, in sort of invite the audience into your life as a, you know, a social person.

And in this moment, there’s a lady who this is kind of like a vignette, right too, because this lady is not really like a part of the whole narrative.

27:24

But it’s sort of this word diploma kind of shifts away from the narrative approach for a little while and kind of focuses on another woman.

And she lives in the apartment complex that in the movie John Rubin is shooting.

He’s he’s trying to be like a voyeur and seeing into all these people’s lives in the apartment complex that’s across from him.

27:43

And she shoots, she’s shooting a home video.

And she’s like, look, here’s the condominiums that I live in.

Look how nice it looks like.

I love it.

It’s got a beautiful exterior.

And then she points the camera at the one that Robert De Niro is living in.

She’s like I this it’s this one is much uglier than the one that I have and they look exactly the same.

28:01

It like it looks like fucking like literally the same 2 buildings like together.

I love that moment because it’s just a hilarious the way that it is like the perspective shifts of like this is a person who lives there and obviously is like, you know, in you know, they like their home.

28:17

And then from an audience perspective, we’re looking at it and we’re like, I don’t see the fucking difference.

It’s like, it’s like that office meme where it’s like they’re the same two things.

Like, I think that was really funny.

I I.

Love the fact that again, he’s doing this voyeur photo, you know, filmography by like sticking his whole fucking body out the window, which says a lot of things about this, you know, New York in the 70s.

28:41

So my asshole would like, you know, fucking camera on a tripod filming from like the 12 story window.

No one bats.

And I don’t know if no one cares, you know?

With like a red bulb above it, too.

He’s got.

It’s like a flashing red bulb that he’s got behind him sometimes.

28:58

Fred.

Yeah.

It’s Fred back there.

Yeah, he likes to do that.

He he thinks we’re not watching, but we all know.

Yeah, there’s sort.

Yeah, there’s sort of like this this hyper realism of him being able to shoot this.

And like again to the way the way that he’s shooting is sort of like a Brady Bunch style like block of, you know, or like how they would shoot, shoot like bye bye birdie.

29:19

Where like there’s, you know, the sort of play like where there’s an exterior of a house and he’s seeing all of the exteriors in the camera.

You know, it’s kind of done for laps too.

It’s like diploma kind of, you know, you know, taking the piss out of it a little bit by shooting it in a way that’s like, obviously there’s no windows.

29:37

It’s like a completely open sound stage almost.

And, you know, I, I like the, that kind of perspective is really funny, but it also hints at this idea of voyeurism and the way that, you know, society can it with the proliferation of the video camera, specifically in photography in this era.

29:57

The the idea of voyeurism and and social construction of that is, is, you know, really a, a, a big theme in hi mom like of of the ability to film these things and invite the audience in or invite people who would be watching these types of things into your life, which I think is really kind of an interesting and complex topic within the movie.

30:24

And I think you mentioned this a little bit, but there it is slightly detrimental that the film does has a little bit of what a lot of viewers would probably consider a lack of focus from the Palma, where it does jump around quite a bit.

30:40

And this sort of vignette style that sort of, you know, again, like I said, it kind of lacks that narrative focus to help it really cement the themes that it’s talking about.

Because it is talking about some pretty complex elements about voyeurism and about the Black Panther movement that’s occurring at the same time.

30:59

And sort of this idea of being able to film the that you don’t put the put on film the social impact of those changes that are happening, you know, at this time period.

And I think that the way that it it, it kind of feels disjointed, takes away from that theme a little bit.

31:16

You almost start to question like, well, what is De Palma’s point and showing some of these things back-to-back like that, You know, I don’t know if you felt the same way.

I do find that the structure sort of inhibits some of the ideas that De Palma is trying to get across in this movie.

31:34

Yeah.

I I, I agree because again, so a lot of it’s, you know, yeah, there’s, it’s meant to be for laughs.

And some of it is, you know, supposed to be political commentary.

But again, the time is like, it’s not, you know, the film’s not even just voyeurism and, you know, black power movement.

31:52

It’s.

Sexual.

Liberation, it’s, you know, feminism, it’s Vietnam.

It’s like all of this stuff is like happening at the time and we’re, you know, getting to see like certain jokes and perspectives a lot on all of it.

But again, the like the whole disjointedness of it like.

32:14

Kind.

Of makes like like, what is it like?

What are you supposed to take from it?

Like the whole voyeurism thing, like I, I personally, I wouldn’t have like a comment on it like that because I never understood it.

32:30

Like it’s just telling you that it’s something that’s never appealed to me.

Not just like in a sexual way, but the whole like, you know, like, just want, like to look at people, like what they’re doing, you know, secretly.

Like, it’s just, you know, yeah.

My autism doesn’t let me like find like the nuance and joy and that like, ’cause it’s like I’m loud and I’d rather, you know, be with people.

32:52

I mean, I do.

I do think that it brings up like an.

Interesting approach, ’cause you talked about that.

You talked about a little bit about the feminism and the proliferation of sort of like sexual mores at this time.

And the film does bring that up quite a bit.

And I think part of that, it does come back to the erotic movies that John Rubin in this movie that, you know, Robert De Niro’s character is trying to create.

33:14

He has this idea for voyeurism that he feels like is in an untapped potential for, you know, the Triple X cinema.

And his idea is he’s going to go over and seduce a woman that lives in the apartment complex across from him so that he can ultimately shoot the sex video that they’re going to be making as sort of like a, you know, a it’s, it’s an spontaneous voyeurism, except he’s enforced it basically.

33:43

But I mean.

Again, like, like I like I’m like that part, like I understand because again, but like it is funny.

I don’t know if this is how they were viewing it at the times.

My family’s a bunch of prudes, you know, if I say pussy to my mother, she you know, language.

34:04

But like, like the whole like idea it like at least to me.

I don’t know if it is to you, especially in like a lot of these films at the time, because there’s a lot of films that we’ve covered from the 70s and stuff where there are people like, you know, going to just, you know, theaters that are built for porn and it’s like.

And you got.

34:21

Get to see, you know, the, you know, sexual revolution basically, and people being more.

You know.

Not promiscuous, but more open.

But at the same time it’s closed because you got you got the theater, the shops that are like are considered CD.

34:37

And then again, all the like, you know, sex that’s going on is, you know, through the voyeuristic perspective of him watching, you know, these people doing the act in their windows, you know, right.

And then people acting.

You know, prudish so.

And you’re kind of questioning too.

34:54

I mean, John Rubin as a character, he’s like a pretty shady character as a whole, right?

Like, you know, he’s our he’s our protagonist, but he’s also a kind of a window into the seedier lifestyle of taking advantage of people by, you know, effectively lying to them.

35:11

Like his whole, his whole idea behind courting this woman that’s across from him is just basically to, to, you know, to, to what do I want to say to, to basically seduce her without her knowing about this voyeurism?

35:28

And so I think that you, you, you start to question Robert De Niro as a character and who he is.

And I think that leads to a more interesting dynamic later on in the film as it shifts into this idea that he’s joined this sort of Black Panther esque group of people who are trying for, you know, the social causes, you know, the social justice of, you know, this be black movement that they’re doing.

35:54

And it makes you question, you know, he he constantly he gets roped into this.

And you have this idea of this guy who is had no real moralistic integrity at the beginning of the movie and then sort of morphs into this man who is takes on this sort of guerrilla tactic of in, you know, inveigling himself into this idea that he can be the white person who is like, sort of, you know, he’s listening at the end of the film.

36:21

He’s listening to the soundtrack for writing checks to, which is fucking hilarious.

Like, I love that little, little aside that they throw in on the radio.

But like, he’s, he’s the in for the, the black person to use as a sort of this scapegoat for, you know, the Black power movement.

36:40

It’s funny, I just thought like before, I like going on that.

I like I I do want to say to the funny part about the whole like seduction thing is and I just kind of was back to my point of.

You know.

Being more open, but at the same time, you know, keep like the like because they may even mention it in it like the whole silent majority back part of like like yeah, but fine, if you want to like be have sex, whatever.

37:05

We don’t fucking, you know, make a big to do and shove it in my face.

And I feel like that’s why it like at least feels like why he’s being so fucking like a dingleberry trying to, you know, seduce Judy because she’s down, She’s ready to go.

37:23

She’s, you know, he doesn’t need to be doing like all this like ham fisted, like seduction, like, Oh yeah, dating.

We’re both tired.

We’ll have to wait to do this, you know, And she’s like, no, I want to do it now.

And he’s like, oh, God, God, like, you know, being, you know, prudent.

37:39

Well, yeah.

And, and I think that I think that like, that’s another funny bit to the film’s dark humor too, is the fact that after he gets this all set up and she’s basically foaming at the mouth at one point when he comes over and she he’s like, what’s for breakfast?

I really need a breakfast.

37:55

I need like a 4 minute egg.

You got a four.

Minute egg and.

She’s like, let’s go now I’m breakfast, you know, And he has to like she, she.

If she was smart, she should have just said like, I’m here for a minute.

That’s right.

But when he goes to the pharmacy in a like a fucking great scene, it’s great.

38:12

He has no idea about like protection or condoms or anything.

He’s like, you know, completely aloof about like what sexual, you know, what things he has to do for this protection.

I need a protection.

Or a prophylactic.

Well, which one do you want?

38:28

Yeah.

They’re different ones.

The the pharmacist man who plays that is probably just some random guy I don’t even know, you know, like.

Ron Howard.

‘S brother Ron Howard, yeah, yeah, Clint Howard, he does, yeah, Clint Howard would have probably been like 13 years old at this point, but, well, he.

38:49

Always looked like that poor man, you know?

But like I feel like this is probably.

Just pig vibrator.

I know it’s.

It’s probably just some random guy that literally may have been a pharmacist, but the, the, the effort that he puts into like get educating Robert De Niro’s character of like, here’s a condom and this is what you do like and like pulling it out and like saying like here, look how stretchy it is.

39:11

And.

Do you want lubricated or not lubricated?

What’s the difference?

Yeah.

It’s it’s it’s hilarious, but I think and he.

Like pulls it down.

He’s like, you know, like that’s where like on this re release that I was watching, I wish they had underneath it.

39:27

Like, you know, when South Park was doing like the whole, you know, Bono is the biggest piece of shit in the world.

And like they had flashing under it like, you know, Oscar winning TV show.

I wish they had that for the same thing for like Robert De Niro here.

39:42

He’s like going on to condom, like, you know, one of the greatest thespians of our times.

We can pull it on a condom and like the same thing, too.

Like I got this nice little vibrator from Copenhagen.

Yeah, all sorts of massage.

40:00

Yeah, he says like massaging for those hard to reach places and stuff.

It’s it’s great.

It’s it’s it’s a great scene.

But I think it also is really interesting to see like this is a guy who set out and his his sole purpose and what he really saw a producer out for was to shoot a rock movies.

40:17

And then here he is being a clueless guy about like entirely about sex.

It’s it’s great.

It’s a nice little dichotomy for the character.

It’s it’s.

Excellent.

See that’s.

That’s the thing too.

We know this film’s not realistic because when he asks her Judy about protection, she said I don’t fucking care, right?

40:37

Yeah, she.

Said, you know, yeah.

She was like, don’t worry about that, I don’t care.

I got to go.

Like, you know.

I mean, good for him though.

You know what?

You don’t have a lot of men that.

Would say that that’s right.

You know you.

Don’t want a little baby running around.

I mean, it’s fun.

And then not only that, she is a, you know, a woman child.

40:56

So you know, well, it’s, it’s just funny because she tells that whole story about after Porgy and Bessa.

Like she’s like, Oh my God, that that movie just like brought so much out in me.

Like I, I, you know, I, I just could relate to her as the a child woman.

How could you?

41:11

Even pay attention to that conversation when they were eating giant pink like sausages.

And sauerkraut and all that.

Like I don’t even.

Know like what that’s supposed to be like a Frank’s red hot like hot dog like I was just enamored it was huge and just.

41:31

Like nice little Polish sausage there.

What a date?

Though they go and get that like one.

I was amazed too because the popcorn size thing she had, who’s that for?

I know it’s 1970 but still like that was like 3 pecs and it’s gone.

41:50

You got it done.

Before the movie they went to a double feature.

She’s got it done before the movie or it starts the first one.

It’s like 2.

Like 2 little crabs and your popcorns gone.

But besides what they had that giant fucking kielbasa or whatever the fuck it is again get ice cream at like you know that place That’s and you can tell it’s like from an older period because no, they had a giant poster for rum Raisin.

42:14

Nobody in 2026 is asking for rum Raisin unless they were around when FDR and then they go and get a pizza.

Yeah, pizza.

No, yeah, that’s great.

It’s great.

Like, I just and they don’t show De Niro really eating much at all.

42:33

And she’s chowing down.

She’s got ice cream and she’s eating the whole 9 yards.

Yeah, I do.

I yeah, it’s, it’s hilarious.

I I like, again, the film is really comically funny a lot of the time.

It’s it’s, it’s it the point really is to be quite funny and it works really well.

42:52

I think that, you know, again, some of the complaints for this movie is that it is slow moving, but I don’t.

Really see that?

I don’t I didn’t really find in this movie is only like 86 minutes long.

It’s not even that long.

I didn’t really find Hi mom to be slow moving.

I felt that it was effectively paced and that part of the reason for that is because it is extremely funny.

43:16

It it like, you know, if you, if you enjoy the dark comedy element to it that it brings in this sort of like black humor or sort of sarcastic humor that it’s bringing, then I don’t really find the movie too slow.

And anyway, anytime Robert De Niro’s on screen, I mean, it’s just like a gem, you know, he does a great job.

43:36

There’s a, there’s a number of scenes where he’s just really effective and it almost seems like improv to me, you know, and in some capacity, I, I’m not sure if you know, there were, there were ideas written for scenes and then, you know, they kind of expounded upon them and in an improvisational tone.

43:52

But a lot of times it does really feel like that.

You know, there’s that whole scene where De Niro’s trying out to be a cop in in the B black theater production and he’s in his like apartment complex and he’s smacking everything around with like a fucking police baton and he’s got like a mop, like a mop that’s supposed to be a bop and a.

44:14

Ladder that’s supposed.

To be people he’s interview interrogating and you know, he’s like, he’s like, you’re not even wearing a brassiere, you slot.

And it’s just fucking hilarious.

Like the the part where De Niro gets himself so worked up or like at least fake worked up that he punches a pizza.

44:33

It’s it’s, I mean, you can’t.

These are things that like, I’m surprised aren’t memes like De Niro punching a pizza.

That should be a meme.

I don’t know why it’s not it You.

What do you?

Protest in the war.

I’ve been the war.

You want love?

I bet I Make Love.

I do.

44:50

They do.

Well, you know, you touch my back.

That’s so great.

Like you touched my pants.

That’s.

That’s like part of the thing that I was saying is like it should be improv.

Like seems like it’s improv because he like accidentally hits the ladder with it and then he kind of, he pulls that out.

45:06

He’s like, you’ve touched my pants.

I think that the, the film is super funny and it’s, I, I feel like it’s under appreciated funny.

Like if people, if people saw this movie, I do feel like they would find it much funnier than like we’ve been led to believe.

45:24

It’s like a Wes Anderson.

Style where it’s going to hit if like I mean it’s more pronounced like the humor, like you know, it’s not as like subtle in as dry, but it’s either going to I think I agree because we have the same like humor taste.

45:43

With that being.

Said.

I think it’s going to be you’re either going to, if there’s no in between, you’re either going to find it to be laugh out loud hilarious, or you’re going to be sitting there like, I don’t fucking get it.

And I don’t think there’s not going to be any.

There’s a middle ground.

I don’t think you’re just going to be like, like, you know, have a snicker.

46:00

I just don’t I I don’t understand people who don’t find pizza abuse funny.

I this, it’s fucking hilarious.

And the place.

The place.

To where they’re eating.

I like I was telling Ryan before we got out.

I’m like, I was hoping so bad it was Sabarro.

It looks like you could have been shot at it.

46:18

Fucking Sabarro.

Yeah, Sabarro.

Too.

And, you know, it’s nice, too, when he’s given that story, She’s sitting there just mowing down on her slice, like, you know, like, yeah.

The guy who plays the the porn producer too is is great.

46:35

I think it’s Alan Garfield, I think is his name.

Just the the montage of scenes that he’s in where he’s kind of given Deniro the ropes of like, here’s the porn industry.

Like, you know that people go to theaters and like, you don’t want to know what’s goes on in that men’s bathroom.

Like those stay out of there and like we need.

46:52

To bring back porn theaters.

I think we as a we used to be better as a society when we could all enjoy you know it together.

You know, and I agree with that.

I think, I think you got to sit.

47:08

There you know with your chub on and look at your friend and be.

Like I got.

You that got you too?

Yeah, well, I’ll be.

Honest with you, I think that Paul Rubens was was unfairly maligned for, you know.

You know, getting his jollies.

Privately in a theater.

47:25

I mean, what, what, who are we to judge about that?

You know?

Oh, it’s also.

Funny too, it’s like he just caught masturbating it watching a porn porno it’s like.

Yeah, yeah.

It’s like.

OK, OK, Yeah, yeah, I agree.

I, I, I think that we should bring them back.

47:40

I think we should it it should be a a standard approach to that, sort of.

Open up like theaters world.

That’s right.

We haven’t really touched on like one of the big components of the movie, which is the, you know, this sort of Black Panther esque movement that’s going on that is sort of transitioned into the movie a little bit later on.

48:04

Because it’s part of the part of one of the voyeuristic people that he’s viewing is embroiled in this sort of like this movement.

Well, he’s the one.

That’s putting the show on, yeah.

And.

And the best part is, I’m going to give this film.

48:24

Some a lot of credit.

Here, Bail Dong, we need that.

That’s true.

That’s true.

The show.

More man cock.

I did think it.

Was funny too, because he’s like the way they they showed him.

He’s painting himself black because he’s the the idea of the play is the be black be black theatre and it’s sort of like a drawing the a white audience in to say like what?

48:46

What would it be like if you were black and he’s painting himself black and he gets to his Dick, which is the only thing that’s not painted black and he’s like, my God, I guess I got to do it because that’s they kind of show him doing that’s when.

Like, you know, also, yeah, De Niro’s filming too.

49:02

And that gets caught and that’s what gets him kicked out from being a porn man because the guy was like, you know, Joe Bannon’s a girl.

Sick.

You’re sick.

Like, it’s, which is funny too, because it’s like, like, well, if you want to do hardcore pornography, like, like, are you just doing softcore?

Like you’re going to have the see some mighty, mighty fine cock, you know, like.

49:22

Right and.

As as.

The Ron White joke goes of like, you know, like when the guy he’s talking about guy who’s like, I hate gay people, I will never lack a Dick or whatever.

And he’s like, do you watch only lesbian porn?

And he goes, no, I watch regular porn.

He goes, well, like, how’s the guy’s Dick?

49:38

Is it limp?

And he’s like, no, it’s a hard thing, you know, hard fucking her.

And it’s like, well, yeah, that’s you know, that’s there you go.

That’s the point.

Like, yeah, that was really funny.

I mean, Grant, the man’s Dick wasn’t hard, but I I did find it funny because as I’m, you know, 15 years late, I’ve been watching Game of Thrones and there’s a lot of Kitty and pussy in it, but at the same time there is every now and then a man’s cock there and I’m here for it.

50:07

There you go.

There you go.

Just because.

I don’t understand why Yeah, in.

Society.

We just don’t let you know.

That’s right, Dong hang out right nice to.

Palma, thanks for the Dong.

And I think too, that the one of the really funny things you mentioned is like, yeah, he loses his job, like, because the producer gave him $2000 and like, here, give me some good voyeuristic porn.

50:28

And when he doesn’t come up with any, gets that shot of the guy’s Dick instead with the the be Black movement, he loses his job.

And he goes in the film, says John trades his camera in for ATV, which is sort of like this idea of like, oh, he was a filmmaker now he’s just a film.

50:44

You know, he just takes it in instead.

Like he, he can’t make films anymore, so he has to just consume them instead, which I think is like, you know, what kind of an interesting dynamic that this movie brings up a couple times where it says like, you know, you’re not just as a viewer, as an audience member, you are not just an audience, but you’re also partaking in sort of this idea.

51:05

And I kind of works towards voyeurism as well.

Like you, you are part of the voyeurism of watching this and you are part of the theater performance by watching it.

And so I think that’s, you know, what kind of a a really interesting symbolism of him trading in his camera for ATV there, which I just want to, which is great too.

51:25

That’s got a handle on.

Oh yeah.

Just you, you can carry that home.

You can just fucking yeah.

Whip it around and carry it and plug it in somewhere and you got ATV Gen.

Z.

And younger you kids will never understand you never had to live with a CRTTV.

51:43

That’s right.

You didn’t.

Want a big TV?

The bigger was, the heavier that fucking thing was.

That’s why.

That’s why.

People you need to be thank be.

Thankful you can get a 70 inch TV for like $200 and it weighs 3 kill like 3 lbs.

That’s why people were more fit and muscular back then, because they were carrying around boom boxes and a fucking CRTTV everywhere.

52:06

Well, it’s funny too.

Because I was thinking about, we didn’t talk about it, but the cameras here are very small for like, what they’re, you know, using the shoe.

Yeah, I’m sure your dad had one like, but we had a, you know, a camcorder.

Well, my family took, you know, we had, you know, shit of us in the, you know, early 90s, in the 80s, that thing weighed like 50 lbs.

52:26

Well, yeah, ’cause.

The the camcorders at that time you had like the you.

Had the actual VHS.

VHS.

Tape, yeah.

The mic and the actual mic attached to it and everything and like right in.

The in the 90s, yeah, the, the film cameras, they were not like the ones that you see in this movie where they were nice and compact and like, you know, you had film that was just within the, the camera.

52:48

It was, it was a whole 9 yards.

And yeah, yeah, it’s, it’s funny how in the 90s, like it was more unwieldy to be shooting video camera than even in the 70s.

Yeah.

Yeah.

But anyway, what, what do you think about the, the whole this this be black movement that they’re doing?

53:07

And, and the idea of like these, like I said, it’s this sort of like this black movement of people who are out on the streets sort of trying to get people to understand the black situation and trying to understand what it’s like to live as a black person in America.

53:23

What do you think about this, this idea?

So I’m going.

To get this is where I like you calling it Black Panther shit.

I don’t, that’s why I can’t.

I’m not saying that because Black Panthers would not be bothered with this shit.

They had.

Other better things to do than put honky and black makeup and make them feel bad they’re, you know, feeding kids and other things but.

53:45

Besides the.

Point I mean, I don’t know, I’m sure the reason why the Palma did this is probably because, you know, there are things like this going on leading into that.

We see, you know, the whole them going around and asking like, you know, a bunch of white people, like be part of our thing.

54:05

Why won’t you be a part of the thing?

And they’re like, I don’t want it.

I don’t want to learn how to be, you know, be black, be black.

And then when they get to like the liberals and they’re like, we don’t, we donate to like the N double ACP.

We know we we’ve marched, we understand, you know, they both suck, you know, because like 1 like especially like the liberals because they’re like the, you know, Nancy Pelosi and them during, you know, George Floyd wearing kente cloth, like yeah, he’s dead.

54:32

Are we going to do anything?

No, but look, we were in kente cloth.

Solidarity and.

Not even that, but like in the the one interview where they’re arguing about whether the, you know, the white people really understand that these liberal older white people who said they’re in marches, they really understand.

54:48

And in the background there’s a guy like murdering a newspaper seller and getting away with it.

And they’re like, not even.

Well, that’s New York City in the 70s.

That’s fine.

Yeah, it’s just hilarious.

Because it’s like this, these white people would rather argue with a black person about whether they understand black people than like, worry about what’s actually going on.

55:07

So but also too.

Yeah, yeah, no, that part had to crack it up.

I mean like again, like the idea I think.

Is.

Just too performative.

Nobody like, unless you’re like the liberalist, like shit Lib.

55:27

I think Neera Tanden and Ezra Klein are like, you know, good voices on like what democracy should look like.

Would like go through that, Like be like, yeah, I’ll go through this and then like I understand.

Well, do you even if?

You do that, you know what you’re not going to understand, because you know what?

55:44

You’re not black.

Well, do you do you think that’s?

Part of you can empathize with the experience, but it’s, it’s performative.

It’s it’s something that like, it’s funny because it’s like, we’re going to make you do this.

And then like by the end, like I love Davis Cray.

56:00

I’ve, you know, I, you know, we’ve learned a lot and understand.

And it’s like, no, I mean, that’s the funny part.

I’m which I’m assuming is what he’s getting at with it, especially with it being as big as it is.

But at the same time I think like.

If somebody.

56:16

Today were like to like come up and like, we’re going to do this to show your back now like you’re a fucking idiot.

It’s not that.

You know.

It’s performative.

You’re not like doing anything like that’s not revolutionary.

Yeah, you know, I do think.

That’s part of the point of it, no I.

56:34

Know I agree, but I’m saying like, you know, I don’t like I just, you know.

Yelling at.

The people that are taking part in it, you know, not the Palma himself.

So I don’t think the Palma is saying, like this whole experience that he’s shooting is a good thing because like, again, it’s just like something like, like I said, I have a hard time like thinking about like.

56:58

This being.

Something that people thought this would be a good idea to experience.

But I mean, it’s only been, you know, five years since the Civil Rights Act got passed.

So I can see how maybe at the time they probably were like things like this going on, but I don’t think it would have gotten anyone but the shittiest Lib white people get.

57:20

I mean I.

Do think it is great that like the whole the whole sequence that they go through, which is almost reminds me of like these, you know, the current memes of like, oh, it’s a white person haunted house.

It kind of reminded me of that sort of like idea of like, you know, what would be the worst experience for a white person in a haunted house?

57:39

And like, this is 1 of it where it goes really it’s, it’s really interesting that it goes so far, right?

Like so they, you know, they start stripping the woman like they’re going to rape her.

And, you know, at the end of the film, she’s sort of like, wow, that was an experience.

It was like, you know, it’s, it’s almost, I do think that there is some muddled element to the theme where I’m not exactly sure what Depalma meant by depicting that so far, but I would say that I love it and I think that they did a really good job of performing it.

58:11

I think that it is a an effective moment in the movie.

I I’m just not quite sure what exactly the Palma meant by it.

I, I don’t think that comes across entirely like I, I think he’s, I think what he’s saying is he’s not, he’s not necessarily critical of the black movement at this time.

58:33

I think what he’s saying is he’s critical of how it can be, how it can be Co opted or how it can, you know, especially how it can appear to an audience and how that may not be, may not be receptive, you know, depending on how it’s performed.

58:51

Well, again, it’s.

Obviously being Co yeah, no, I would agree with that because again, it’s obviously being Co opted because the whole thing of it being like a performance, the whole like, you know, getting like these rich to do you know, white people being like you’re going to learn the black experience or any collard greens.

59:12

I would be there like, give me hell, Yeah, let’s go look like.

Which is.

Funny to that they start off of that because I would agree that one thing that connects cult like there’s good way for people to connect with other people’s cultures is food.

59:34

Like, you know, if you’re like, I hate Hispanic people go to like try like, you know, authentic, like Mexican for the first time.

We’re so like again with this like soul food and you’re going to be like, wow, I was just eating spaghetti OS before and now I’m I can learn more.

59:56

That was really good.

You know, so I agree, like, you know that part, but again, like the I’m not, I’m my problem with the part is more the actual inner workings of what’s happening, not what he’s doing or saying.

It’s just, you know, I’m just sitting there like a like you got the comparison I would make would be like how to understand a woman’s pain.

1:00:19

You give him the little, give the man the suit that makes them feel like they’re giving birth and it’s like.

Yeah.

Right.

And I do think to some extent that is the point to like you were saying of the audience not being able to be receptive enough to that.

1:00:35

You know, we’re seeing it and we’re you know, it again, it is sort of like, I think towards the end of the movie, that’s kind of De Niro’s part in this is that he gets roped into this sort of gorilla tactic of being the he’s watching this and sort of emotionally invested in it from the TV.

1:00:54

And so the end game for him is to plant dynamite in the the complex and blow it all up.

He could, totally.

Go from that and he’s like, I’m going to watch the spook who sat by the door next and we’re off to the races.

Right?

Exactly.

1:01:09

And, and it’s sort of like, I feel like it again, the idea to hear it does to some extent inevitably tie back to Vietnam.

The violence that everyone in this generation experienced is sort of like, you know, presented to us again as an audience on screen.

1:01:30

Like everybody’s taking this in on screen as an audience member, seeing the violence first hand, because the end of the, the, this black movement of the be black movement that they’re doing results in them storming a complex with guns drawn and then getting absolutely blown away by everybody else who had guns.

1:01:48

Like there’s a really, it’s not with a little white family with a man, right?

Exactly.

The the white family with the kids are around in the this older man with the balding man with those kids.

Those kids are are the kids that I was messaging you that were in Pat Garrett, those fucking perfect bull cock.

1:02:06

Yeah, yeah.

I mean, it is a tragically funny scene and it’s, you know, it’s, it’s sort of like, you know, Deniro is watching this from the TV and like what?

Wow, they, they got blown away.

You know, it’s a, it’s an interesting premise.

And I think again, it’s very complex what the Palma’s presenting.

1:02:24

And and I think part of the issue that people took with it is that it was a little bit too opaque as to what he really was trying to say with that.

I agree to.

Some extent I think that ultimately the idea behind this is that you know, the the idea behind the film title to Hi mom is the fact that like listen, the proliferation of video cameras is making you public is many people can see what you’re doing.

1:02:53

The potential that this gets back to your mother is high, you know, and which is which is.

Like the thing, one of the things when they’re in the nudie theatre watching the video, right, It’s like, you know, she’s got, she’s somebody’s, you know, daughter, like, yeah.

Exactly.

Just got to say hi mom.

You know like and it’s it’s.

1:03:11

You know, again, it’s, it’s a complex matter of, I think again, the, the idea that the, the privateness of home life has seeped into the publicness of voyeurism of the proliferation of home video.

1:03:29

And it’s, it’s sort of now you’ve, you’ve got this kind of this issue with, with privacy.

And not only that, though.

Too, though, sorry to cut you off with the whole ending where after he bombs and they’re interviewing people about it and the guys, like, I lost my fucking credit cards in there.

1:03:46

Like, I’m really bummed down.

Yeah.

The other one was like, I’m glad the building’s knocked down.

I we need for my dog to walk.

And then De Niro comes on and he’s like, I just got back from Vietnam.

Yeah.

Like, Oh yeah, this.

1:04:01

Whole idea.

Yeah, I was.

Actually, demolitions expert, there’s fucking baby people like we’re on TV.

He’s like, oh wow, yeah, yeah, that is.

That is true too.

Yeah.

I forgot to bring that up, but yeah, that’s right.

For for one thing, you’re right.

The credit card guy, that’s fucking hilarious.

1:04:18

I I was laughing about that too, where he’s just like, man, my colleagues were in there, you know, it’s like something really minor and then.

But but I think we’re going to interview people who were either new people that lives in that building or, you know, but people are, you know, have died, right?

1:04:37

Just the fact that the guys like.

Right.

And fucking ball I and I think, you know, too, that kind of comes back to, you know, as De Niro comes in and he’s like, yeah, I was in Vietnam and stuff it it kind of brings that back again to like this idea like the proliferation of violence after Vietnam and and what people got used to.

1:04:56

And, you know, the the differences in in experience between people.

I think it’s, you know, it’s really like a very short period of time in that movie where it’s just a very quick little a little thing, but it’s, you know, a really interesting dynamic that it has there.

1:05:15

It is.

It’s.

It’s hilarious, but at the same time too, I don’t know if he meant it this way, but I mean, again, it’s funny.

But like at.

The same time like the whole like this building just blew up and people there’s like 1000 people to it or whatever.

1:05:30

And he’s like, I know real violence.

I wasn’t enough were you?

And I’m a career Sir, you wouldn’t fucking know.

Well, real violence isn’t it’s like everything’s a Dick measuring like everyone’s got, you know, be self-centered and not you know, you know what, regardless of whether or not you’re in Vietnam or here when the bomb blew up and killed, you know, people, it’s like violence is violence.

1:05:54

It’s not that, you know, a competition of.

You.

Know oppression Olympics basically of who you know, who suffered more you know, I also.

I thought it was interesting too that you know what, and I don’t know that this was intentional or not, but the one of the things that, you know, the reporter really draws attention to is the fact that De Niro keeps dropping cursing curses.

1:06:18

And like, it’s not that the fact that there was like this terrible violence that occurred, that is really the the thing that turns people off.

It’s the cursing that he’s doing.

You know, it’s it’s through this censorship that they need to apply to to the to the news broadcast is is what’s really the reason why they stopped recording.

1:06:35

So I mean, again, like we’ve been talking about, there’s there’s a lot of ideas at play here in in the film.

Again, I do.

Should have been, should have.

Been 2 hour film for all the things it wants.

Right.

Again, I do think it’s a little bit messy in the fact that like, I don’t know that the Palmas themes are really well developed in a way that they all come across the same, you know, the same measure.

1:07:00

I think that it is a little bit too disjointed to really say one way or the other.

Like this is the overall overarching idea behind this movie.

He he kind of has so many ideas at play that they’re almost crossing each other in ways that take away from the theme.

1:07:19

But at the same time, I think that the movie is really clever and really interesting to think about.

And I, you know, I, I really enjoyed it for what it was, regardless of the fact that I do think it is a little bit messy, you know, in, in the way that he’s developed it all.

1:07:35

One thing we didn’t talk about that ladies, Areola said.

He was like viewing it on.

The ladies area which one the the one that the guy?

Was like starting to paint the paint black.

Yeah, yeah.

1:07:52

You like those areolas?

It’s really getting in there.

It’s just a connection with pizza.

That’s true pizza aerials.

Yeah, little pepperonis.

We also did not talk about the the original soundtrack, which is an important part of Hi mom is it’s it’s one of those soundtracks where, you know from the 70s where is literally narrating what’s happening on screen.

1:08:17

We need.

More films to do original.

I don’t need to see fucking like a Thor film with a kink song in it.

Like as much as right, and I’ve given out about this before, but as much as like I love the kinks, I don’t need to hear supersonic rocket ship during like a stupid little segue or like.

1:08:33

A slowed down version of it that’s performed by someone else’s, like, made it like a dramatic and theatrical, yeah.

Yeah, yeah.

You need to go back to.

Original music, you know that’s how Earth, Wind and Fire got the big break with sweet, sweet back.

1:08:49

Same thing here.

Like though it’s great because it also reminded me of like and you’ll know the reference 73 you know, green jacket Lupon like, you know, just the whole life.

He’s nice.

Man, yeah.

You know.

It’s going on little harmonica, you know.

1:09:07

I do love it ’cause I feel like the, the way that they were composed was like the people the Palmer brought it to Eric Kaz who did the music and, or John Andreoli wrote the lyrics.

They brought it to them and they were like, we need, we need a score, we need a soundtrack for this.

Here’s the scene.

1:09:23

We want you to put the soundtrack on.

And then they just watch the scene and they literally just, you know, wrote lyrics to what was happening in the montage and, and, and they went from there and guys.

Walking down down the street.

Exactly.

Yeah, he’s getting a.

Taco from the tornado shop, he gets his ranch sauce.

1:09:43

No wait, he switches for ketchup.

We need more of that anything too.

We talked about it before trailers.

We need to bring back the foreman and trailer that literally like hey, no theater opener anymore because it’s a dying heart.

1:09:59

Don’t worry, Yeah.

You can watch the the short version of the movie here.

Yeah.

No, we definitely need more of the soundtracks, like.

Hi, Mom.

I, I, you know, and again, I think to some extent there it is sort of like a parody of that idea, you know, because it’s almost like so on the nose that it’s like, I think they were making fun of this a little bit, you know, like, but you know, at the same time.

1:10:22

Yeah.

It works.

Yeah.

Exactly.

Yeah.

It’s it’s kind of in that same humor realm that the film has.

Yeah, well, as you said it.

Jives it.

Jives.

That’s yeah.

Yeah, it’s great.

Can you imagine?

If inside the 2015 or whatever the hell Suspiria of Tom Bjork instead of just yodeling was like dancing would be great.

1:10:52

I know like just came to my mind.

Yeah, they really.

They really should have.

They should have done that.

We’ll.

Have to do one of these days because there’s we bring we bring this up a billion times when we cover films up there from the 70s, like we talked about the shaft and Smokey the Bandit.

We’re going to have to do like a top ten like song from a movie that like spells out like, you know, what’s going on in that movie.

1:11:18

It’ll be a list.

That’s only like Tim Heidecker would probably look at.

That’s right.

The one person.

That’s right.

All right, so we got a rate.

Hi mom.

So on a scale, well hold.

On De Niro looking very hot in this.

1:11:35

Oh yeah, absolutely.

Do you like?

Him gussied up with his hair slicked back and all that.

Did he like him more rough and dumbled?

I have to say that I really because for me.

He looks a lot better.

Rougher, yeah, but.

I would say that I really enjoyed the yeah, the I really enjoyed his look and I think I like this look in general, but this like very classic look of him being in like the the flannel with the like the knit hat on and the yeah, I like, I like that look a lot.

1:12:04

I think he looks good too, as the class sort of classy.

Like, you know, again, the man hasn’t changed much in throughout the years.

He he really looks very similar even in his older years to to what he looked like when he was younger.

But I think, you know, again, he he does pull off both personas very well.

1:12:20

I think especially in this movie, you really see it great because even when he goes into audition and they’re like you’re you want to be a pig, huh?

And you know, you don’t look like a pig.

You look like a pretty humble guy, you know, and which is?

Funny because like his Vietnam like jacket he’s wearing like I was like totally thinking like motherfucker looks like he’s like just like got off a taxi driver, right?

1:12:42

Exactly.

Yeah, he did look like that.

Well, yeah, it looks just.

Like Dram’s Bitcoin?

Yeah.

But I, I love that fact that you’re like, you look like a pretty humble guy.

And, you know, throughout the film they kind of have portrayed him as that, even though he’s got shadier elements to him.

And then when he does the cop bit, you know, he really does pull it off.

1:12:58

Like, you know, you’re, you’re seeing him in it in his more serious roles.

And I think, you know, that really works well in this movie to showcase how much range De Niro has.

And he does a really good job with that.

So yeah, I I like that a lot.

1:13:16

All right, so on a.

Scale of zero to 10 ABC dating dating initiatives compute on the computer.

Which, by the way, before.

We give ratings.

What a trusting time.

1:13:32

Yeah, just.

Show up I’m.

Here for my date.

Who the hell are you?

I’m here for my day.

Let him.

In use the phone yeah, like.

Kicks your fucking Cracker Jack all over the place.

Who knows, you might.

1:13:48

Have your giant pink vibrator laying out and around.

You.

Know what’s funny too?

Is that, you know, the porn producer John Banner?

Joe Banner, He was drinking a can to dry in the theater.

Yeah.

Yeah, that’s.

Very classy.

Yeah, Yeah.

But you’re like, what?

1:14:04

What a time.

Like she’s what?

And then like she’s like, oh, I asked her like, oh, it’s been a mix up and she’s like, oh, I still want to fuck you.

Like, you know, so I, I want to, you know, and like, not like get the hell out of my house or anything.

Right.

1:14:19

Yeah.

We’re we.

I know.

Yeah.

Like, yeah.

You got tickets?

What are we going?

What are we going to see?

You know, Corky and Bess?

All right, let’s go.

You know, hilarious.

1:14:36

All right, So what would you give?

Hi, Mom.

I’ll give it a 7 1/2 out of 10.

I think it’s really funny.

I do think it’s funny.

I do think I’m sad that like, like it’s not like a well known film.

1:14:53

Because it is.

Really enjoyable.

It’s a lot of fun.

I think we talked a lot about like, how good the laughs are and how like, you know, funny it is.

I think though, overall, even at 86 minutes, the film with its disjointedness and tackling of a billion different ideas that aren’t like fully fleshed out, it makes for a muddled experience.

1:15:23

Which makes.

Sense it’s like a third film so, but at the same time it is hilarious.

I laughed my ass off.

I wasn’t sitting there just like sniggering, like going thought it was hilarious.

I you know, De Niro’s absolutely fantastic in this.

1:15:42

It’s really good.

And seven and a half out of ten.

Check it out.

I thought, I think it’s really funny and I’d be interested in to see what people think.

Like I said earlier though, I think it will be a film you’re either going to like or you’re not going to.

I don’t really think there’s an in tweeting with this because it’s so chaotic, yeah.

1:16:03

I’m going to give it an 8 out of 10.

I really enjoy this movie.

I thought it was really well paced for me.

I thought that it was an enjoyable movie, even even with the vignette part that is sort of like a little bit unfocused.

I I, I really enjoyed it.

1:16:20

I think that it has some really interesting ideas at play.

And though I don’t know that the Palmer really fleshed them out in a way that I think makes him, you know, super evident.

I think that just the whole thinking about this movie and the way that this area of of time was so iconic in the ways that it, you know, has proliferated throughout society.

1:16:47

I think is, you know, really a distillation of what Hi Mom is about.

It’s about kind of all of those things of this really very specific era.

You know, again, it’s it’s complicated.

It’s very funny.

I think it is, you know, some of De Niro’s funniest work.

1:17:06

And, you know, again, if you like this kind of comedy and you, you can kind of get behind what the Palma is doing here, I think you’ll really enjoy it.

But again, I, I do agree, I think it’s for a certain audience.

I don’t know that everybody is going to like this movie.

It seems like it is one of those things that is very specific to certain, you know, opinions.

1:17:29

And I would recommend it, but I’m not sure that everybody will like it.

So I’m giving it an 8.

I really enjoyed it.

I thought it was a a really great experience.

I’m excited to check out Greetings as well, which I have not seen.

So, you know, I would, I would definitely come back to this movie.

1:17:49

Yeah, you this morning were said telling me off air.

Obviously you’re like, you got to watch this.

Usually I watch it right This our film right before the podcast and he’s you got to watch it earlier.

There’s a lot to unpack.

And I was like, you’re bullshit, like, ’cause I was thinking about, like, film from 1970 to, you know, early Depaulo Montanaro.

1:18:10

What the fuck is it going to be like to untag?

Yeah.

I was right, right.

Yeah, There’s a lot.

There’s a lot here.

I think there’s a lot.

There’s a lot sandwiched within this movie.

So.

But more, more, more than that, it’s just extremely funny, at least in my opinion.

1:18:26

So all.

Right, so that.

Does it for our episode on Hi mom.

You can check it out.

It says currently out on, you know, home video for 4K and Blu-ray by Radiance Films.

So check that out.

What’s up next?

1:18:42

What are we doing next?

The Patriot?

We’re doing July 4th, 2200 and 50th anniversary celebrations with Mel Gibson.

Yeah, is where?

We getting him on the show?

Is he available?

He probably, he probably.

He probably is.

1:18:57

Yeah, yeah.

I, I I think we’ll call them up.

And Rosier.

Either do, man, if you’re you’re seeing as we’re going to be fighting for gasoline Queens, yeah.

I love all the.

Mad Max memes that have been popping up over late of, you know, everyone like getting their war rigs ready.

1:19:16

That’s right.

I’ve never seen fully the patriot.

Wow, I’ve seen some of it.

I’ve seen some of it, but I’ve never seen the probably because I didn’t have the attention span for a nearly three hour movie and I’m still going to need to find the the time for a three hour movie for for this coming up.

1:19:38

So yeah, this.

Film.

It’s Roland Emerick film.

And it’s.

Because it’s a role in Emmerich film.

Is it a good movie?

No.

It’s a guilty.

Pleasure.

Like it’s so.

1:19:56

Like.

Horrendously a historical and just nonsense of like why he he’s he’s bit Mel Gibson, Mr. Benjamin mine and he’s got colored folk on his fields.

1:20:11

I’m actually.

Are they slaves?

No.

We work.

We work for free here in South Carolina.

You treat the squid.

I’m actually having a hard time believing that the 1998 Godzilla with Matthew Broderick was prior to the Patriot that that is.

1:20:28

That is blowing my mind.

Actually, I can’t even believe that God that, that Godzilla is that fucking old, which means I’m that fucking old, which means Matthew Brodick’s that fucking old.

You know what I mean?

You want to Why Godzilla 98 is horrible?

Why Matthew Broderick?

1:20:45

He’s a horrible actor.

Oh, poor.

Matthew Broderick No, no, not.

Poor don’t.

You don’t.

You malign Matthew Broderick that way.

No, he killed.

Somebody and I.

This true is true that that meme that you sent me was pretty fucking funny is.

1:21:04

It’s.

Just, you know, if you know, you know, and if you don’t like, you don’t get it at all.

But it was pretty funny.

Was it the one that was?

Yeah, it was like where?

They’re like driving along and it was like when Matthew, it was like Matthew Broderick and Ireland one night or something like that, but wasn’t.

1:21:19

It like a Clockwork Orange when they’re driving, yeah.

Yeah, I think it was.

Yeah, this is fucking funny.

It was really funny.

But no like.

Seriously, Glory is great in spite of Matthew Broderick.

Ferris Bueller’s Day Off is totally great in spite of that motherfucker like his.

1:21:36

He is worse than Kevin Costner and Bruce Willis, and those are two actors that I loathe because they’re boring, bland, and pedantic.

The Lion.

Man, he’s.

1:21:52

Terrible.

I challenge anybody to go out there and say.

He’s a good.

Actor Keanu has a thing about him, but Keanu’s Keanu and he carries the rizz Rodrick does.

1:22:10

Not it doesn’t have the rizz.

That’s right.

He needs the Keanu Rizz.

All right, so.

But there you have it, The Patriot.

Next up, Imagine.

Matthew Project, Johnny Silver handed Cyberwalk.

Yeah, JV.

1:22:27

I killed somebody.

It’s true.

Oh, well.

Sorry.

No.

Problem.

All right.

Well, thanks for lucky.

For you, I won’t even have to watch the Patriots.

I’ve seen that.

1:22:42

Fucking no.

Lucky.

For you.

You have to.

Set 3 hours aside for that.

Yeah, I wouldn’t.

Have to watch it listen a film that long it’s fine to have an intermission like halfway it is true.

I agree with that.

Take a break.

1:22:58

Would you rather?

Do a bigger war epic.

Well, it’s not American.

We can Do you know Lawrence of Arabia?

You got five hours you want to set aside?

No.

Not right now, I don’t.

You know, we’re like.

Ben Hur, Yeah.

Ben Hur, Yeah.

Yeah.

All right.

1:23:14

Well.

TuneIn for the Patriot next time on Blood and Black Rum podcast.

Sure you’ll enjoy.

Thanks for listening to our episode on Hi mom, hope you enjoyed.

Go check it out if you haven’t seen it.

We’re on pretty much any podcast app you can think of.

Apple Podcasts, our home base at Spotify.

1:23:32

Whatever you use, I’m sure we’re on it.

So subscribe, leave us a nice review.

We’re on Facebook and Blue Sky.

Just search for us on their Blood Micron podcast and you can write to us at [email protected] and let us know what you like, what you don’t like, and what movies you want us to watch.

You also have a Patreon page where you can donate to us.

1:23:48

Anything you donate goes back towards beer.

So thanks in advance for that.

Thanks for listening to us as we go into our, what is this 11th season of the show, I think is coming up here in August.

So, yeah, so fun times coming up on an anniversary.

Thanks for listening to us.

1:24:04

We really appreciate it.

And I hope you come back next time for our July 4th special.

Until then, take care.

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