Talking Pictures with Neil Rosen


News of the World, One Night in Miami, Monthly Critics’ Pick

Film critic Neil Rosen invites viewers to explore the movie industry with him each month, as he dives in to the latest releases from Hollywood and independent producers. Interviews with actors and other industry insiders, as well as commentary from fellow critics, provide varying perspectives on the ever-changing world of film.

AIRED: January 29, 2021 | 0:26:52

Neil: This week on Talking Pictures with Neil Rosen,

we'll look at the new suspense thriller Promising Young

Woman's starring Carey Mulligan.

The new Tom Hanks Western News of the World.

The comedy drama, Let Them All Talk with Meryl Streep

and the SciFi flick The Midnight Sky directed and

starring George Clooney.

Plus the historical drama One Night in Miami,

about a legendary evening that took place in 1964.

We've got to hear that and many more movie picks coming up.

I'm Neil Rosen and welcome to Talking Pictures.

It's our monthly critic roundtable show where we

debate what's worth watching and what's not when it comes

to new releases, hidden gems, and Hollywood classics.

We know that most movie theaters are still closed.

They're still closed. Can you believe this?

And you're probably craving some entertainment.

So along with my panel who were all streaming from home, we

have plenty of movies and TV series for you to watch at home.

Joining me are, Bill McCuddy from Gold Derby.

Hey there, Bill.

Bill: Neil, as always you are so right and I agree

with everything you say.

Neil: Perri Nemiroff's back from Collider.

Perri: I got a fancy new prop in the background,

but I will say Bill's background beats me this time.

Neil: Okay.

And returning to the show, my buddy Rafer Guzman from Newsday.

Hey, Rafer.

Rafer: Hey, Neil.

As you can see behind me, I've become a 10 year old child.

Neil: Well, let's start out with a look at several new films

that are either available on demand or on streaming services,

beginning with something called Promising Young Woman.

Let's take a look at a clip.

>>> I just thought that you were --

>>> Drunk?

>>> Yeah.

>>> Really drunk?

>>> Yeah.

>>> Well, I'm not, but that's good. Isn't it?

>>> I think you should leave.

>>> Oh, now you want me to leave?

>>> No, it's just, I'm really high right now.

I don't know what I'm doing. I think you should go.

>>> But a second ago you were determined for me to stay.

You were pretty insistent actually.

>>> I'm a nice guy.

>>> Are you?

Neil: Bill? Tell us about Promising Young Woman.

Bill: Well, that's Carey Mulligan and in my book,

she's doing Oscar worthy work.

She drops out of med school and spends weekends picking

up men pretending to be drunk. She gets them home.

She sobers up quickly and what we have very quickly

is a provocative timely thriller, that could be

called the unhappy hour. It's darkly comedic.

It has a boyfriend who's nice, actually, one of the

few nice guys, we think, for a while, in Bo Burnham,

and it has a killer ending.

This is one of my favorite movies of the year.

In fact, it's my number one film of the year and it gets one

of my highest recommendations.

Don't miss Promising Young Woman.

Neil: Rafer?

Rafer: You know, I thought this was a great concept with

only semi-successful execution.

I really wanted a film that was going to go whole

hog and give me something really scary, sexy, bloody.

It just didn't happen.

I'm sorry to say it because I love Carey Mulligan.

I was really excited for this film, but I just,

it's a lot of talk.

I kept waiting for a start up Brian de Palma, Paul

Verhoeven explosive moment.

There is one, as we all know, but I had to wait so long

for it and I was a little disappointed in this one.

Neil: Perri?

Perri: Oh no, I'm much more on Bill's side with this one.

I still can't get over what a stylist, sharp and

confident first feature this is from Emerald Fennell.

That part of it is mind blowing to me.

I'm also a very big believer that Carey Mulligan at the

very least deserves that Academy Award nomination and

I think she's gonna get it.

Her ability here to kind of blend that outward confidence

with her character's mission and then also this inner

heartbreak and rage that's driving it all, that right

there is next level stuff and part of the reason why this

movie works exceptional well.

Neil: Well, I, I couldn't agree with Bill and

Perri more on this.

This is also, Bill, my favorite movie of 2020.

And Carey Mulligan, I agree with you, deserves an Oscar

nomination for this thing.

First of all, if you're familiar with her work,

nothing in her previous work, like in An Education where

she's this innocent, nothing would prepare you for this.

She's tremendous. Bo Burnham is great.

And, you know, this thing grabs you right in the beginning.

Never lets go.

It's a suspenseful movie with lots of twists and turns.

I can't recommend this enough. Moving on.

Let's talk about the new Western, News of the World.

Perri, tell us about it.

Perri: All right.

So this one here, it takes place five years after the end of the

Civil War and it stars Tom Hanks as Captain Jefferson Kyle Kidd.

He's a veteran who now goes from town to town

reading the news out loud.

While he's on the road he encounters a ten-year-old girl

who was captured and then raised by Kiowa and what he decides

to do is commit to bringing her back to her aunt and uncle.

I think with assessing this one, I need to just state the obvious

first, Tom Hanks is phenomenal and he's just absolutely

perfect for this role.

His command of the scream, and also his warmth with that

role is kind of pivotal here.

And overall, I would say it's not the most

complex movie out there.

It's kind of just like a string of encounters that

they experience along the way.

But what really makes this one land in the end is the

chemistry between the two main characters and the atmosphere

and the style of it all, because this is the type of movie

that I don't think we get very often or not often enough.

Neil: Bill?

Bill: I don't think to your point Perri, that the old West

had a beginning, a middle, and an end in any story.

We drop in here, we meet Hanks. You're right.

He's perfect.

It's kind of perfect for him because he's the guy

you would trust like Walter Cronkite to deliver the news.

He's kind of a Brian Williams door to door salesman,

and it's just a terrific performance all the way around.

A couple of big moments.

I love the young woman in this thing and it has

a heartwarming ending.

I recommend News the World wholeheartedly.

Neil: Rafer?

Rafer: Yeah, it's kind of amazing that it took

Tom Hanks so long to make his first Western.

This was the first Western he's ever done.

I mean, he, he is our Jimmy Stewart after all, and it took

him so long to make this movie. Obviously he's great in it.

I think it has a lot of parallels to the modern

day in terms of you've had this fractured nation

still from the Civil War.

You've got these ideas of the media, you know, distrust

the media, propaganda.

There's a lot of stuff going on in this movie.

Some obvious parallels to The Searchers, the great

old John Ford Western. I liked it a lot.

It's really beautifully directed. It looks great.

And, and yeah, you know, Tom Hanks in a Western,

what more do you want?

Neil: Yeah, it's real good.

You know, it, you know, you might say it's predictable

and by the numbers, but it doesn't matter.

To your point Perri, it's all about the bond that forms

over the course of the movie between Hanks and the young

girl played by Helena Zengel, if I'm pronouncing that correctly,

she was also terrific. Shot beautifully.

And the last 10 minutes, which I won't reveal, are just so

powerful that that's worth the price of admission alone.

I highly recommend this. Tom Hanks, great job.

And, and go check it out on demand.

Okay, Rafer, please talk about Let Them All Talk.

Rafer: All right, I will.

This is Steven Soderbergh's latest movie.

It's got Meryl Streep playing an author named Alice Hughes.

She's just won this literary prize in England.

She doesn't want to fly so she decides to take a cruise.

She brings along a couple of old friends, played by

Diane Wiest and a very good Candice Bergen and her nephew

played by Lucas Hedges.

What Alice doesn't know is that her literary agent

has also snuck aboard.

She's played by Gemma Chan and this literary agent

is trying to find out what Alice Hughes is up to.

What is Alice Hughes going to write next?

I have a feeling I might be in the minority on this

one, but I actually liked this movie quite a bit.

I think it's funny. I think it's clever. I think it's stylish.

I love this weird mini genre that Steven Soderbergh has

where he just gets people together, has them improvise,

and shoots it in this really stylish interesting way and

you just full frontal, the girlfriend experience for

two more movies like this.

I think it fits kind of neatly in there.

I think a lot of people think this is subpar Woody Allen, but

I got to tell you, I liked it.

Neil: Bill? You had an interesting --

Bill: Well, listen, this is, this is very chatty.

I say, don't let them all talk and talk and talk.

The great Diane Wiest is in this thing.

The cast is amazing and it must've been a lot of fun

to get on the Queen Mary and go from New York over

to Southampton in England.

But listen, this is a long slog and I wanted to love it a lot.

Everybody's good.

But Lucas Hedges, also in this thing.

Not sure I can recommend it.

You stumble across it when you're flipping around.

Yeah, sure. Why not? But otherwise, no.

This ship sinks.

Neil: By the way, the Queen Mary is, which was

filmed on location, looks great in the film since you

have to look at the ship.

But anyway, I'll come back in a moment with my opinion.

Perri, what's your take?

Perri: Oh, first off, Rafer, didn't you learn anything?

It's a crossing, not a cruise.

Neil: Yes. A crossing, Rafer.

Rafer: Excuse me.

Perri: As I was watching, I was a little surprised how riveted I

was by each little conversation we get because the movie

meanders quite a bit but when you sit in a moment for a while,

it was fairly taken by it.

And I was curious to see where everybody would end up.

The problem is the moving never did like fully digs

into any of the complexities that it brings up.

The rifts between the character, you kind of just like skate

the surface of all of it.

And even though I was fairly engaged, in the end, the

movie left me really empty.

And I think for that reason more so than anything,

I can't recommend it.

Neil: The plot has a lot of holes in it.

It jumps all over the place and the most interesting storyline

to me, well, there's two, one is between Lucas Hedges, who

is trying to make a pass Gemma Chan, who is much older than

him, and he's shy and awkward and I kind of liked that.

And I also think the Candace Bergen storyline about this,

she's got rich friends and she's working like a, what

is she, a saleswoman in a department store or something.

And she's just looking to find the guy on the, on

the crossing on the ship.

But, you know, to me, what makes this worth a look is the acting,

watching these three acting giants, Meryl Streep,

Diane Wiest, and Candice Bergen act.

And for that reason alone, I think Steven Soderbergh,

I think Steven Soderbergh directing this, I think

he did a decent job.

It's an, it's an adult grownup movie, which they don't make

a lot of these days and if you're looking for that, I

would recommend the film.

Bill: But this is what Steven Soderbergh came

out of retirement for? Come on.

Neil: He's not even in retirement.

Bill: Enjoy his crossing. I hope he had a nice time.

Neil: He says he's retiring and he's made 12 films since

he said he was retiring so I don't get that.

Bill: He's the Celine Dion of directors.

Neil: One Night in Miami looks at the evening in 1964

where four icons, Muhammad Ali, Malcolm X, Sam Cooke,

and Jim Brown gathered in a motel room to discuss among

other things, their roles in the Civil Rights movement.

Let's take a look at a clip.

>>> All right.

When and where is this party going down?

>>> That's a good question.

What's on the agenda, Malcolm?

>>> Well, I thought this would be a wonderful

chance for us to reflect on what's happened tonight.

Like our young brothers said there's no denying that

greater forces were at work.

>>> You mean no one else is coming?

>>> Well rest assured my brother,

you're not missing anything.

Neil: Rafer, tell us about One Night in Miami.

Rafer: All right.

Well, this is the directorial debut of Regina King and

it's a fictionalized account of a very real night.

I was very surprised to find out that this actually happened.

And although we don't really know, we have no actual record

of what these guys talked about, this is your sort

of what if, fly on the wall version of what these guys,

these four Black American icons might have discussed

at this moment in time.

The movie can be a little unfocused, a little meandering,

but I mean, the performances are just extraordinary.

You've got Eli Goree as Cassius Clay, Kingsley

Ben-Adir, amazing Malcolm X.

You've got, you've got Leslie Odom Jr. as Sam Cooke.

I think Leslie Odom Jr.

is really going to be the guy who is going to be the

man to beat for an Oscar.

His version of A Change is Gonna Come, acappella on The

Tonight Show, another real event that's been lost to history,

is the capstone of this movie and it's just extraordinary.

So the performances are really what you're here to see.

It's in that sense, it's really incredible.

Neil: Yeah.

I love the recreation of The Tonight Show with Johnny

Carson when he does that. That was great. Hey, Bill.

What's, what's your, what's your take on this?

Bill: Well first of all, Rafer, can I tell you I'm

having a little trouble with my capital One Credit Card.

Can you switch me over to customer service?

Yeah, listen, as I said this was an amazing Malcolm X

and I really enjoyed the whole thing.

I thought Regina King did a great job of opening this

stage play up and taking us outside of that motel

room a couple of times.

I think there are tremendous, tremendous performances

all the way around.

I'm going to warn people, there's some, a gut-wrenching

thing in the beginning involving Jim Brown and Beau Bridges.

But in general, if you just look at the trailer for this film,

you might take a pass on it. It looks flat, it's anything but.

Neil: Perri?

Perri: Hands down one of the best ensembles

I've seen all year.

And I'm with you, Rafer, I think the best chance at a

nomination is Leslie Odom Jr.

but it would be a real shame if the other three weren't

recognized in some form throughout award season.

And I also think the same is going to happen for Regina King.

There is a good shot she can get a best director nomination

for not only her feature directorial debut, but in

especially ambitious one.

We've seen a lot of play adaptations this year and I

might say she's one of the ones who did the best job just

making sure her camera work and her style best supports

her cast more so than anything.

And when you have that one-two punch of great actors

and then a director who brings the most out of them,

like you can't touch that.

Neil: Okay.

First of all, let me say that I think the performances are

great and I do recommend this.

But that said, it was a play first and there are, I mean,

there's a lot of time that is spent in this dingy motel room,

which is very stagey.

And when it opens up like the beginning of the movie, when

it's a movie and you see, as he was called at the time, Cassius

Clay and the Sonny Liston fight.

Or you see Sam Cooke bombing at the Copacabana is, you

know, when he's headlining at the Copacabana, and then

there's a flashback later on in the movie where Sam Cooke

salvages a show where the audio goes out in Boston.

That's a movie because I'm taken to those events, but there's

many long periods where it's just talk, talk, talk, talk,

talk in this hotel room, which functions more like a play.

But that said the performances are so good.

Regina King, who's an actor herself, gets the

most out of these guys.

And what they're talking about, even though it's 1964 has so

much relevance today that when you combine all those factors,

this is definitely worth a look.

And I think this will get a lot of Oscar nods too.

What's really cool about this is that when these

four guys though are in the motel, they're humanized.

They're not they're on camera personas.

They're talking and completely, you know, it's

never, you've never seen Muhammad Ali like this.

You've never seen Malcolm X like this.

It's like, this is what these guys are like off camera.

And I kind of dug that too.

Perri, something called Midnight Sky with George Clooney.

Tell us about that.

Perri: This one is directed by and also stars Clooney.

He plays Augustine, a scientist who's living all alone at

this observatory in the Arctic after this cataclysmic

event basically rocks Earth.

Then on top of that, there's also Felicity Jones who plays

an astronaut character and she's on her way back to Earth

after this real long mission.

When Augustine finds out that her spaceship is returning, he

becomes determined to warn her and her co-astronauts not to.

This one had me for about two thirds of the movie.

I don't need to tell you that George Clooney is super

captivating, whether he's in the middle of a scene

with some action to it, or if it's a more private

moment for that character.

And I thought the space set material looks great.

There's one particular scene in that portion of the movie

that might be one of my favorite scenes of the year

and also is just seared in my brain for the rest of my life.

You guys know my tastes so you probably know what I'm

getting at here, but the product --

Neil: I don't know what you're getting at.

I don't think we saw the same movie, but, go on.

Perri: But the problem with this one winds up being the

ending because Midnight Sky stumbles across the finish line.

And when that ending falls flat, again.

It's like what I said earlier, it's hard to

recommend a movie when they can't stick the landing.

Neil: Well, you said the problem is with the ending.

I think the problem was with the whole movie.

Rafer, what's yours, what do you think?

Rafer: Yeah, I'm going to agree.

I think I stuck with this one for about three minutes before

I started realizing that I was just in for a total disaster.

There's just no story here. There's no dramatic tension.

It's just one damn thing after another.

Oh no, it's a meteor shower. Oh no.

I fell through the ice. Oh no, there were some wolves.


I just, I couldn't believe, I just couldn't

believe this movie. It was, it was so dull.

You know, and you tune in for George Clooney

because he's George Clooney and he really is great.

I mean, you know, you'd watch him do anything, but, oh man,

this movie, just this one, we just fell apart from the,

from the minute it started.

Neil: I see you're agreeing with Rafer Bill.

Bill: Yeah, well, here's the headline.

This is Clooney tunes nonsense.

I mean, I wanted to like it, but what is it with

this guy except for Gravity?

What is it with this guy and space movies?


A couple of others that have been in that are so

forgetful, forgettable I can't even remember them.

I liked some of the ideas going on in this movie, but the

end, which jumps the spaceman.

It is really, really out there.

I can't recommend this on any level.

Neil: Yeah. As I said earlier, it's not just the ending.

I'm with Rafer.

It's like three to five minutes in, I'm like,

I don't care what's going on.

As you said, Rafer, there is no suspense.

The only positive thing I can say about this is

it's beautiful to look at.

I mean, the budget on this and the SciFi special effects

are great, but who cares?

It's not enough to carry the movie.

I mean, you know, like you said, wolves.

I mean, seriously? Yeah, really? I don't know. Perri.

I think Perri's rolling her eyes back.

I'm sorry, Perri, three against one, but, you know,

I hated this. Let's move on.

Bill, tell me about a movie called Let Him Go.

Bill: Well, Kevin Costner and his wife, Diane Lane are

doing great, great work here.

They don't think their recently widowed daughter-in-law

married very well.

She left Montana, it's all set in the early sixties, for the

Dakotas with a new shady husband from an even shadier family.

The headline here is the matriarch, the Ma Barker of

the clan is Lesley Manville who kind of steals the

latter half of the movie.

She's so sensational in Harlots. Please watch Harlots.

And you remember her from Phantom Thread.

This is a revenge thriller about a couple that wants

to get their grandson back.

It has an over the top ending, but I forgive all

of that because Costner and Diane Lane who might

be a supporting actress nominee here, are so great.

Don't Let Him Go. Go see it.

Neil: Rafer?

Rafer: Not sure I'm going to agree on that.

I do think that Lane and Costner are both really good.

I liked the idea of this slow burn Western, kind of modern

Western set in the sixties which is an interesting time.

You know, I like the buildup to the end.

You know, your point about Lesley Manville though, I think

it's such a weird performance and such a weird character.

She's kind of like, she is sort of like a Ma Barker, but she's

also like a gangster's mall and she's got this Illinois accent

and I kept thinking like, what, what, what movie are we in?

This is The Untouchables, all of a sudden, what is this?

And I just, I felt like the movie was a little unclear

about what it was trying to do even though I was

mostly engaged with it. I'm sorry, Bill.

I was mostly compelled throughout it, but it just,

too many rough spots for me.

Neil: Well, Bill's chewing up the cards.

She was chewing up the scenery, but that worked for me.

I liked that. I thought, you know, you what? That smile.

Have some pork chops, where she really wants to

stab a knife in your back.

Perri, what's your take on this movie?

Perri: Sign me up for a team Lesley Manville as well.

I loved her in this. Blanche genuinely scared me.

And because of my love of horror movies, I have a high

bar when it comes to the scares.

And she's just so good in that role, whether it's with the

more violent scenes in the movie, or even just like the

verbal sparring that makes you think she can do or say

anything in a given moment.

And when, when you pair her keeping you on edge too

Lane and Costner's palpable love and devotion to getting

their grandson back, the two warring things right there.

Even when the pace of the movie slows, I think that

keeps the whole thing riveting from start to finish.

Neil: Look, it's a simple story that eventually, as it goes on,

the tension keeps ratcheting up and it, and it had me.

And I think what makes it work are the sensitive scenes between

Diane Lane and Kevin Costner.

And again, Lesley Manville, she's, she's just great.

You know it's a good versus evil story that, that, you know,

I liked this movie a lot.

It's not going to bore you for one moment.

>>> So I'm supposed to live, you don't know where, for you

don't know how long and also you don't know if Eddie's okay.

Just let me call him.

Let him be the one to explain it.

>>> You can't.

>>> You're talking about my husband.

>>> No one knows where he is.

You can't call him because no one knows where he is.

>>> Is anybody looking?

>>> Everyone's looking and they're looking for you too.

Neil: That was a clip from the new movie I'm Your Woman.

It happens to be Bill McCuddy's personal choice as we go

around the panel with our critics pick of the month. Bill?

Bill: Well, Rachel Brosnahan, as you saw, or may not have

recognized is a long way from Midge Maisel on the

Upper West Side of New York.

She's a mob wife on the run with the new baby.

This is set in and feels just like a 1970s movie.

So Midge is going one decade at a time.

She's been in the fifties and sixties, maybe the next

movie Brosnahan will make will be from the eighties.

She's basically being driven around and sort of

protected by Arinze Kene as her sort of overseer.

This was all directed by Julia Hart, who is a woman,

understands the material, understands seventies movies.

Rachel Brosnahan produced it.

So obviously she wants to get out of the Midge

Maisel mold, and I think this Amazon release does a

really good job with that.

I highly recommend I'm Your Woman.

Neil: Perri?

Perri: I am a huge fan of Marvelous Miss Maisel and I

love Rachel Brosnahan in it.

It's so nice to get to see her kind of flex her acting muscles,

just in case anyone out there only knows her from that show.

Then just add this to it and all of a sudden you

can see this massive range.

Neil: Listen, I was really bored by this and it was so

unmemorable and left so little of an impression on me that

a few days after I saw it, I actually forgot how it ended.

And I actually had to go to Wikipedia to remind

me of the end of the movie to read the plot.

That's how bland this is it.

It's tedious and uninvolving.

Perri: Bill, I'm wishing I had index cards right now.

Neil: Perri, hit me with your critics pick this month.

Perri: I cannot overstate how much I love Cobra Kai.

It is a show that started on YouTube and it's now on

Netflix and it's basically a continuation of the

story of Daniel LaRusso and Johnny Lawrence from

the 1984 Karate Kid movie.

And I know what you might think when you hear about

the nostalgia factor and then bringing back a popular property

to potentially milk it for more, but this is a prime example of

how best to do that, because the cool thing about Cobra Kai is

that it actually furthers their stories in an interesting way

and then it takes those lessons and it brings it to the younger

ensemble and then on top of that, you watch every season

individually, you can watch season one, go back to Karate

Kid and you watch that movie from a whole new perspective.

But then they do it again in season two.

And then they do it again in season three.

And not only do they do that for Karate Kid in season

three, but they're starting to tap into stuff from Karate

Kid part two and part three and the way they're doing it,

it's almost too good.

I can't get over how clever the show is.

Neil: Well, what's your pick this month, Rafer?

Rafer: My pick is a documentary that I think has actually

gone totally unnoticed called Feels Good Man.

And it is a movie about, a documentary about a

cartoonist named Matt Furie, or should I say it's about

his creation, Pepe the frog.

And this is a little frog, sort of a stoner frog character that

he wrote, initially, just to be kind of like a, sort of like A

Big Lebowski character almost.

But he got co-opted by the alt-right and turned into a

symbol of hate so much so that the Anti-Defamation League

had to put Pepe the frog, this little harmless frog

on its list of hate symbols.

And this documentary is all about Matt Furie trying the

impossible, which is to take his creation back from the internet.

Fascinating movie.

I really think it says a lot about where we are now and

why and how we got there.

It's gone totally under the radar, but I just think

it's a terrific watch.

Neil: Well, it's gone under the radar with me

and the rest of the panel.

We haven't seen it, but you've sold me.

I'm going to check it out. How about you guys?

Rafer: Check it out.

Bill: No.

Rafer: Tried.

Perri: I've heard, I've heard good things now from Rafer and

also beyond so count me in.

Neil: Well finally, my pick this month is the documentary

The Bee Gees: How Can You Mend a Broken Heart?

And it's a look at the extraordinary career of

the three Gibb brothers who became a larger than life

music group during the course of their remarkable career.

Using rarely seen archival footage and interviews with the

last surviving member, Barry Gibb, along with many people

who were collaborators to help them, like Eric Clapton, as

well as pure fans like Justin Timberlake, this is a history of

a group that first reached fame in the late sixties with soft

pop ballads, their career wanes, but then they come roaring back

in the late seventies as the kings of disco music with doing

the soundtrack to Saturday Night Fever and when disco goes out

of fashion, they're so prolific they start writing tons of

top hits for other artists.

The Bee Gees are a comeback story with multiple comebacks.

They keep staying alive because they kept

reinventing themselves.

And this whole terrific doc offers up lots of surprises and

insights into this musical trio.

Also there's tons of performance videos along the way, and you'll

probably be singing along to most of the songs all the way.

That's all the time we have.

With any luck we've given you some movies and TV shows to

watch to help pass the time.

And I want to thankBill McCuddy, Perri Nemiroff, Rafer Guzman.

Stay well. I'm Neil Rosen.

Join us next time on Talking Pictures.

♪ [Closing Music]


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