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Karina Longworth

You Must Remember This is a storytelling podcast exploring the secret and/or forgotten histories of Hollywood’s first century. It’s the brainchild and passion project of Karina Longworth (founder of Cinematical.com, former film critic for LA Weekly), who writes, narrates, records and edits each episode. It is a heavily-researched work of creative nonfiction: navigating through conflicting reports, mythology, and institutionalized spin, Karina tries to sort out what really happened behind the films, stars and scandals of the 20th century.

You Must Remember This

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

This episode was originally released on March 1, 2016. Listen to help prep for the next episode of our new season,The Old Man is Still Alive.
In the late 1940s, as the country was moving to the right and there was pressure on Hollywood to do the same, Katharine Hepburn, Humphrey Bogart and John Huston all protested HUAC in ways that damaged their public personas and their ability to work in Hollywood. Hepburn’s outspokenness resulted in headlines branding her a "Red" and, allegedly, audiences stoning her films. Bogart and Huston were prominent members of the Committee For the First Amendment, a group of Hollywood stars who came to Washington to support the Hollywood Ten -- and lived to regret it. With their career futures uncertain, the trio collaborated on the most difficult film any of them would ever make, The African Queen.
 
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Flashback: The Blacklist, Part 4: The African Queen, Humphrey Bogart and Katharine Hepburn

The director of It’s a Wonderful Life, who won five Oscars in the 1930s for films that embodied the pre-World War II notion of American exceptionalism, was pushed into semi-retirement by the early 50s by changes in tastes and political priorities. Capra was brought back to the Hollywood director’s chair by Frank Sinatra in the 1960s, but Capra quickly became embittered by an industry that he felt had left him behind, and in 1971 published an autobiography airing grievances about an industry that he believed was “stooping to cheap salacious pornography in a crazy bastardization of a great art to compete for the 'patronage' of deviates and masturbators.”
 
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Frank Capra 1959-1971 (The Old Man is Still Alive, Part 1)

In the mid-1930s, Fritz Lang fled Hitler and left a successful film career in Germany behind to come to America. After a 20 year career in Hollywood, Lang went back to a much-changed Germany to make two films that he had first developed in the 1920s, set in India but largely cast with non-Indian performers in brownface. Even Lang’s collaborators were concerned that these films, The Tiger of Eschnapur and The Indian Tomb, were politically incorrect and out-of-date. How did the director behind some of the most influential films ever made end up here, and how can we understand his late movies – and his appearance as himself in Jean-Luc Godard’s Contempt – as the culmination of all that came before?
 
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Fritz Lang 1959-1970 (The Old Man is Still Alive, Part 2)

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

Born in the 19th century, his career forged in the silent era, John Ford helped to invent the genre of the Western and still holds the record for the most Best Director Oscar wins of all time. Though he made films in all genres, and sometimes even tackled the same historical territory from different angles in different films, Ford had by the 1960s become synonymous with depictions of American history that honored maverick white men, while often villainizing, distorting or erasing Native Americans. In this episode, we will talk about the influence of Ford’s last masterpiece, The Man Who Shot Liberty Valance, and will look at Ford’s last two films, which to some extent feel like “mea culpas” for the offenses of his earlier career: the revisionist Western Cheyenne Autumn, and the female-centric adventure film 7 Women.
 
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John Ford 1962-1972 (The Old Man is Still Alive, Part 3)

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

Welcome to the second episode of You Must Remember This, the podcast devoted to exploring the secret and or/forgotten histories of Hollywood’s first century. Today, we look back to 1979, when — while the music world was full of punk and post-disco coke rock, and the movie world was making the transition from the “New Hollywood” of the ’70s into the blockbuster age — Frank Sinatra recorded Trilogy: Past, Present and Future, a triple album with one disc each devoted to big band standards (“The Past”); covers from “the rock era” including Billy Joel and Beatles songs and also “Theme from New York, New York” (“The Present”); and, most amazingly, a 40 minute song cycle about life, love, death and visiting outer space (“The Future”). We’ll take a look at how and why “The Future” was made, and theorize as to why it’s fallen into the dustbin of pop cultural history.
 
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2: Frank Sinatra in Outer Space

A Very Special Halloween Episode! The writer-producer Val Lewton produced and ghost-wrote 11 films in just three years as head of the horror unit at RKO, many of which — Cat People, I Walked With A Zombie, The Curse of the Cat People, The Body Snatcher — were huge hits, helping to keep the troubled studio afloat in the early 1940s, and becoming influential genre film classics. Lewton died super young, but he crammed an enormous amount of life into his 46 years. Before establishing his unique style of horror at RKO, he was a publicist and a terrible journalist; he published at least a dozen books (including at least two porno novels, one of which he was very proud of), and through his career-making apprenticeship with David O. Selznick, collaborated with Orson Welles, Alfred Hitchcock, and countless other classical Hollywood luminaries. Today — which would have been Lewton’s 110th birthday, if not for his untimely death in 1951 — we take a look back at his life and career, break down his groundbreaking aesthetic, and ask and answer an incredibly reductive question: did Hollywood kill Val Lewton?
 
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3: Happy 110th Birthday, Val Lewton

During the last year of his life, Nirvana’s Kurt Cobain was obsessed with Frances Farmer, an actress from his hometown of Seattle who died in 1970. Farmer’s beauty and unique screen presence made her a star, but her no-bullshit ballsiness made her a pariah — and a target of the hostile media — in 1930s Hollywood. Farmer’s career went down the tubes in the 1940s when a couple of incidents of inconvenient drunkenness led to her being committed to an insane asylum by her own mother, and given a lobotomy. Or, so Cobain and his wife, Courtney Love, frequently told journalists while Cobain was promoting In Utero, the Nirvana album that includes Cobain’s tribute to the actress, “Frances Farmer Will Have Her Revenge on Seattle” (Love also claimed to have been married to Cobain whilst wearing a dress once owned by Farmer, and the couple named their daughter Frances, although that was likely at least co-inspired by Frances McKee of The Vaselines). Unbeknownst to them, the notion that Farmer was lobotomized was a fiction invented by a biographer with ties to Scientology, a lie which was then dramatized in an Oscar-nominated, Mel Brooks-produced movie which helped to make Jessica Lange a star. By the time Kurt and Courtney were championing Farmer as a proto-punk martyr in the 1990s, the legend of Frances Farmer as patron saint of…well, women like Courtney Love, had been printed so many times that it had swallowed up the truth of Farmer’s experience, and loomed much larger than her actual body of movie work. Today we’ll explore how, and why, that legend got printed, and try to explain how Frances Farmer became the patron saint of beautiful, bright, potentially batshit women whose self-destruction can be traced back to their signing of a studio contract. We have special guest stars! Nora Zehetner (Brick, Grey’s Anatomy, Mad Men and most recently IFC’s Maron) played Frances Farmer; Brian Clark played Kurt Cobain, and Noah Segan IS Rex Reed.
 
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Flashback: Bogey, Before Bacall

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