[00:16] Meg: Welcome to Desperately Seeking the 80s. I am Meg.

[00:18] Jessica: And I'm Jessica. And Meg and I have been friends since 1982. We got through middle school and high school together here in New York City, where we still live and where we

[00:27] Meg: podcast about New York city in the 80s. I do ripped from the headlines and

[00:31] Jessica: I do pop culture.

[00:32] Meg: So right after this, we are going to go to KGB in the East Village and check out the space that our party is going to be in on May 14th.

[00:45] Jessica: Yes.

[00:45] Meg: From 7 to 9:30. I'm very excited.

[00:48] Jessica: I don't think I've been to KGB in like literally 20 years. Like some ridiculous amount of time.

[00:56] Meg: I think you will find that it has not changed in a great way.

[01:01] Jessica: Good. I love that.

[01:02] Meg: Woohoo.

[01:03] Jessica: Yay.

[01:13] Meg: So today we decided to do a watch party of a movie that was unavailable for many years. And the movie is Arthur 1981, starring Dudley Moore and John Gielgud. Liza Minnelli. Yes, all three of those amazing powerhouses. My goodness. Okay, first of all, let's talk about the fact that it was unavailable for many years.

[01:42] Jessica: That made me laugh. I don't know why. Just so we were like, let's talk about the fact. Like. All right, who are we blaming? Like, let's. Okay, let's get right into bl.

[01:50] Meg: Well, listen, this is the deal. I thought that it must have been unavailable for all those years because it must have been horribly offensive in some way that just they could not release this movie in good conscience.

[02:07] Jessica: But if I do, we live in, in a, in a universe where good conscience and good taste and all of that even remotely prevails.

[02:17] Meg: Well, I don't know. I mean, I, I, it's not like I had a discussion or with anyone about it or did any, like, research. I just kind of assumed. So yes, you're right. That was my brain. That's not reflective of the world.

[02:30] Jessica: I'm just teasing you. I'm just teasing you. I think, I think that. Sorry, I'm not mocking you. I'm teasing you. My thought is always someone holds the license and they're not allowing anyone to use it. For some reason. That makes them more money. Right? And, and the more money that I have assumed is because it was available on like, hbo, like cable. Cable channels that showed movies. I'm totally losing my marbles.

[03:00] Meg: Anyway, let, let me take over for a second, please. So you're absolutely right. As it turns out, it was about rights. Now the reason why I miss that movie so much was because, I mean, sure, I remembered it being Charming and deadly. Moore is funny and blah blah, blah. And John Gielgud, of course.

[03:19] Jessica: Ah.

[03:20] Meg: But mostly I remembered the soundtrack and I thought that music was so beautiful and it was like a love letter to New York City. Am I right? I mean, it literally is.

[03:31] Jessica: I don't think that I was able to go through Central park without hearing Christopher Cross in my head for decades.

[03:40] Meg: Exactly. So I so wanted to see that movie again. And I couldn't find it. I couldn't find it. Well, now it is available. Thank goodness. And we, and we watched it for our discussion this week and then I looked up why haven't we been able to. And it is. It was because of the rights. Orion went bankrupt and so then whoever bought them out in their bankruptcy was only going to release some of the films and they put Arthur way down on the list. Mostly because the soundtrack was so friggin amazing and expensive. The irony that the reason I wanted to see it was the reason it was unavailable for so long.

[04:22] Jessica: Unbelievable.

[04:24] Meg: But how funny too. Here I am going like, oh my God. Brace yourself, Meg. It's just gonna be so offensive and so upsetting. And I mean, Dudley Moore, he's hysterical. But you know, I didn't know what was going to come out of his mouth next. Right. It wasn't offensive at all. It is truly an incredibly amusing and charming movie. It is so well written. What did you think? I love this movie.

[04:50] Jessica: I have always loved this movie. Dudley Moore was just the guy. Like I know that he had a huge comedy career and was, you know, in England is the shit. But the movies that he started making in the United States, I think from the mid-70s through the 80s were so funny. And there was one movie that he did and I, I. Foul Play. Well, foul Play, like best cameo ever. Like truly.

[05:26] Meg: He got an award for. He got a. He was nominated or got a.

[05:30] Jessica: For best supporting Something.

[05:31] Meg: Yeah, yeah, yeah, yeah. Beyond Hilar for basically like a five minute cameo.

[05:37] Jessica: Yeah.

[05:37] Meg: So good.

[05:38] Jessica: Genius. He was also in a movie. Now this might be offensive now. There's a whole slew of movies from the 70s that I want to see that are very hard to find because they're so not PC.

[05:52] Meg: Okay then.

[05:52] Jessica: And of course as a child I thought they were just a scream, so I'd love to see them now. But he did a movie that was called Holy Moses. The character's part of like a group tour of the Holy Land and he's with Lorraine Newman and they get thrown back in time so that they're part of Exodus, basically. It's so deranged. It's such a deranged movie that if you can see it, see it. But in this movie, the thing that always struck me about this movie after, I guess after the 80s, was like, you know, alcoholism is a serious problem.

[06:33] Meg: Okay, so we should tell everybody. So Dudley Moore plays the. By the way, guess how old he was?

[06:40] Jessica: 30 something?

[06:41] Meg: 46.

[06:42] Jessica: Shut up.

[06:43] Meg: He was 46.

[06:44] Jessica: Shut up.

[06:45] Meg: I won't shut up.

[06:47] Jessica: I will not. I refuse. Oh, well, he's holding it together.

[06:53] Meg: Okay, so he's the. He plays the son of oil, barren, old money family.

[07:00] Jessica: Like an aster.

[07:02] Meg: Right. Thank you. Like an aster. Because they definitely make a distinction between that rich family and this other rich family. And we'll get to that in a moment because the whole movie is about class. Yes. So he plays the son spoiled in that he's just had everything paid for his entire life.

[07:23] Jessica: He's never had to achieve anything.

[07:25] Meg: He's never had to do anything. He's famous. People are like, oh, my God, you're that rich, drunk guy. And he's like, yes, I am. And in the first scene, he picks up a. Let's just say she's a street walker.

[07:38] Jessica: Yes.

[07:39] Meg: There's no street walker. I mean, we could say a sex worker, but let's be more specific. She is a sex worker walking on the street. Street walker.

[07:46] Jessica: Well. And let's use the vernacular of the time, shall we, Skiwalker?

[07:51] Meg: Okay, sure. Yeah.

[07:52] Jessica: Just saying.

[07:53] Meg: And he picks her up, and at first, he's sort of insulting to her, you know, definitely sticking his foot in his mouth. But he's willing to pay her a lot of money to go with him. And that first scene that he has with Gloria, which. I mean, the woman who plays Gloria is amazing.

[08:11] Jessica: Mm.

[08:12] Meg: And you see how she starts reacting to him. At first she's suspicious. She thinks he's just some sort of rich asshole, but whatever. Money is money. And then he takes her out to dinner at the Plaza. Right? And this is Pre Trump Plaza. So it's real.

[08:29] Jessica: The real Plaza.

[08:31] Meg: The way that he treats her with respect is how the rest of the room ends up treating her with respect. And you see her actually kind of getting to like him because he's funny and fun to be around, and he's nice and he's not actually a dick. And he doesn't look down on her.

[08:55] Jessica: Correct. And what I also thought was very interesting about the scene is that because they chose for Gloria to be a lady of the night, the audience is not going to project themselves into her shoes or see things through her eyes. It's a very other kind of person. So you observe it without ever putting yourself into it. So everything that you described, it's easier to see. Like when, like the, the interactions that he has with Liza Minnelli or the one. The fiance like it. They're very charged, they're very loaded because you have this other person who you can identify them with them. You understand what their biases are gonna be. But they've created this very blank character in a way to set up the scene so perfectly. So.

[09:48] Meg: And then she does spend the night. He takes her back to his palatial apartment and she does spend the night. And they wake up the next morning because his. What do you call it? It's model train. His model train that is huge. And in his room, along with other adolescent boy toys. Yeah. Like a basketball and, and a picture of Charlie Chaplin, which I loved because Dudley Moore started reminding me of Charlie Chaplin. Just his physical comedy is so, so specific.

[10:21] Jessica: So let's assume that he put that on set.

[10:23] Meg: I kind of think he may have. So they wake up because the model train is toot tooting in the room. And she goes. And he's still asleep and she hugs him. I'm like, oh, Gloria. And then Sir John friggin Gielgud comes in and he is Dudley Moore's butler. And he brings her a robe and tells her that breakfast is downstairs and that it is time for her to go. And she looks at him and I wouldn't say that he's particularly. John Gielgud is particularly warm towards Gloria.

[11:03] Jessica: He.

[11:03] Meg: We get the idea that he's been

[11:05] Jessica: in this movie many, many times.

[11:07] Meg: There's a drill, it happens. But he. I wouldn't say he's looking down on her. I would just say that it's. It's just like what he has to do every morning.

[11:15] Jessica: Yeah, exactly. He's.

[11:18] Meg: But if this is a movie about class and what is Sir John Gielgud's class as a butler in this situation? I wouldn't say that the butler is being condescending towards Gloria, although he does have some funny lines.

[11:32] Jessica: He's. Yeah, he's.

[11:33] Meg: Yeah, he's.

[11:34] Jessica: He's a little snarky, but throughout the entire thing. Yes. And, and, and so well written. Just as a, as a, as a. It's not a spoiler, but what I love about the commentary on class and, and you. You already started in on it with how at the Plaza, the way that he treats her is how Everyone else winds up treating her. And his relationship with his butler. His butler is actually his father. Oh, absolutely. And so the notion, really, I felt like the theme of the movie, father figure. I felt like the theme of the film is really what kind of person are you? And that there's all of this pressure to engage in class structure and that it's really up to you. That's a personal choice that you can make.

[12:25] Meg: So, yeah. Sir John Gielgud's job is to bring him his martini in the bubble bath and to make sure that the lady of the night from the previous evening is paid and scurried away. The last you see of Gloria is she's walking down Fifth Avenue counting her money. So we know that it was a job for her. It was a job. And that she's happy with the amount of money that she made and that

[12:49] Jessica: she had a very good job. Yes. She had a varying stress free experience.

[12:55] Meg: Right. It was probably one of the more pleasant jobs she's had. You get that kind of idea. Like when she hugs him in the morning and stuff.

[13:03] Jessica: Indeed.

[13:04] Meg: So even though Sir John Gielgud's job is to be his servant, the way that Dudley Moore speaks to him too, is deferential.

[13:15] Jessica: He's the adult in the room. And also, you know, to your point about how he. He's used to this. When Liza Minnelli shows up looking the way that she does, it's entirely reasonable that he thinks she's a hooker.

[13:28] Meg: Oh, my God. Okay, will you please talk about the first time we see Liza Minnelli, which is. I'm sorry, weird. They're in Bergdorf's.

[13:37] Jessica: Shoplifting.

[13:38] Meg: She's shoplifting. What the fuck is she wearing?

[13:41] Jessica: She is wearing a clown suit.

[13:43] Meg: It is a clown suit.

[13:44] Jessica: It's.

[13:44] Meg: It's like no one ever wore a warmth.

[13:45] Jessica: She's wearing a little teeny, tiny cowboy. This, like red cowboy hat. Red cowboy hat. Like, it was an outfit that was so clearly calculated to be like, she's kooky.

[13:58] Meg: Is that what they were trying to tell us?

[14:00] Jessica: She's unpredictable and kooky?

[14:02] Meg: I think when I first saw the movie, I wrote her off in that moment. I was like, whoever is dressed like that, I can't with you.

[14:11] Jessica: And yet, and yet Sex and the City had Carrie Bradshaw dressed like that through the entire series.

[14:18] Meg: Not like that.

[14:20] Jessica: If you had had a little yellow

[14:21] Meg: raincoat, what is she wearing?

[14:24] Jessica: Okay, the little yellow. That's like a dog slicker. It was like, so. It was. It was not good.

[14:31] Meg: So she is Shoplifting a tie at Bergdorf's while Dudley Moore and Sir John Gielgud are there buying out the whole store, because that's what they do just for fun. And they spot her shoplifting a tie. And then security tracks her down on Fifth Avenue and they follow close behind, and they basically save her by walking up and saying, oh, thanks for picking up that tie. And because Dudley Moore is such a famous, wealthy person, the security guard is like, oh, Mr. Bach. Oh, I didn't realize she was with you. Okay, so Dudley Moore also is like, I'd like to. To go on a date with you.

[15:12] Jessica: Yes.

[15:13] Meg: And we find out that she lives in Queens.

[15:16] Jessica: God. Saints preserve us, the subway. God, Linda.

[15:23] Meg: Well, she was going to take the bus, but then Dudley Moore has Bitterman, his chauffeur, take her to the Delightful Bitterman. Delightful Bitterman, who also, I mean, just

[15:37] Jessica: takes care of him.

[15:38] Meg: Wonderful character.

[15:40] Jessica: Yes.

[15:41] Meg: What a wonderful man.

[15:42] Jessica: Well, and just that there's this. This whole slew of people who look after this ridiculous job.

[15:50] Meg: Well, see, that's the thing. I mean, I didn't look at my watch, but just offhand, how many minutes of your Dudley Moore minutes, do you think? What percentage was he actually sober?

[16:04] Jessica: 25%. Yeah, if that.

[16:06] Meg: Like, it's unusual for him to be sober most of the movie. He is dead drunk, either because he's having fun or because he's stressed out.

[16:15] Jessica: And. And P. S. No one's ever like, you shouldn't drink because drinking will kill you. It was, grow up.

[16:25] Meg: Right?

[16:25] Jessica: Get serious.

[16:26] Meg: Like, this is just a part of maturation, and you'll grow out of being drunk, even though you're 46 years old.

[16:34] Jessica: Yeah. The growing out of things is a little. But, you know, again, you were on our other episode, our previous episode, about, are you there, God? It's me, Margaret. You were talking about the societal norms and pressures and whatever that were reflected in that book. I found it really interesting, just that, like, we were a drinking culture. Like, we were like cigarettes, you know, how many times have we talked about Studio 54, like, Capote's swans? Having a drink in your hand was normal. It was that he was just a little too much. It wasn't like a health, like, seeing it through modern eyes. I was like, jesus Christ. How did I. How did I not, like, have a queasy feeling through this whole movie before he.

[17:23] Meg: Well, also, I think movies in the 80s, people who were drunk or stoned or bumbling in some way, the physical comedy thing, it was comedic, comic relief. It was definitely A comic relief kind of thing. And Dudley Moore did it like nobody's business. So good at being drunk.

[17:45] Jessica: Yes, yes, he did it.

[17:46] Meg: Oh my God. Oh my God. When he put. When he's in Queens and he puts the whiskey glass on the hood of the car and he keeps going back to see if it's gonna fall. I mean, it's just so good.

[17:58] Jessica: No, he', his, his attention to detail is, is masterful. But speaking of masterful, even as a child when this came out, the person who I cared about in this movie was John Gielgud. It was Hobson. And I absolutely disintegrated with laughter. I think it was one of the first times I saw a movie where that arch English wit was on display. And when he says to oh my God, Liza Minnelli's dad, would you and your undershirt please take two steps backwards so I can enter your domicile? You and your undershirt. I was just like, I am officially dead forever. And it shaped my entire sensibility. Like that for me was a turning point moment of understanding comedy very much

[18:59] Meg: your sense of humor. And delivered just impeccably. What about the way he puts on his hat and then cocks a little bit?

[19:09] Jessica: Oh, he's so proper. But again, like has so much affection for his mess. Again, talking about class. He's never deferential to Arthur, but he's not mean. They're just two people. It just occurred to me the way that they play the scenes. It's as though both of them, the characters know that they are cosplaying a relationship that isn't what the real relationship is. Do you know what I mean? That he's kind of like.

[19:42] Meg: I don't know, I felt, I wouldn't be surprised at all to hear that Sir John Gielgud and Dudley Moore were wonderfully in love with each other. Just because it feels like a fleshed out relationship. I mean, I did, I think I did have a moment of going like, what must it be like for Dudley Moore, who is a British actor, but much more in sort of a vaudevillian kind of background to be acting with Sir John Gielgud, famous Shakespearean. I mean, was there anything there class wise? We know that the are kind of into that.

[20:20] Jessica: They kind of enjoy a hierarchy, don't they? Right.

[20:23] Meg: So it crossed my mind that, yeah, we might be seeing something that was very genuine.

[20:30] Jessica: I thought it was charming. It's just. It is so. Yeah, it's so genuine. There's. You can't Pull it apart. It's really beautiful.

[20:39] Meg: So at about this time, Dudley Moore has fallen for Liza Minnelli, who lives in Queens with her father, her slobby dad. And dad, who's also adorable, by the way.

[20:50] Jessica: Like, super cute.

[20:52] Meg: And she's got a lot of dignity. She's not just going to date some guy because he's really rich. The father.

[20:57] Jessica: The father is like. He's having that silent freak out in the corner. He's like, it's Arthur Bach. Don't fuck it up. Don't fuck it up. Don't have any attitude. Like, please, please.

[21:13] Meg: Yeah, it's wonderful.

[21:14] Jessica: Hilarious.

[21:15] Meg: But she can sort of. I mean, she definitely cares about him, but she's not gonna get herself screwed over.

[21:22] Jessica: Definitely. Definitely not.

[21:24] Meg: But that's going fine. They're having a good time with each other. But around this time, Arthur's grandmother, imperious woman who lives at the Cooper Hewitt Museum.

[21:36] Jessica: Exactly.

[21:39] Meg: Very specifically at the Cooper Hewitt.

[21:41] Jessica: Yes.

[21:42] Meg: Calls him in. And she's also such a character. I mean, are movies written this well anymore?

[21:48] Jessica: No.

[21:49] Meg: She calls him in and she says, sorry, I love you, but you have to grow up. Not. You have to stop drinking, by the way. But you have to grow up. And your way of growing up is you are going to have to marry this woman we've picked out for you. She's very WASPy. But the thing is, she's not very WASPy. She's very. New money.

[22:10] Jessica: She's new money.

[22:11] Meg: And the way. That's why I was like, why did you dress Liza Minnelli like that? And then you're so specific about new money and old money as far as the design and the costuming. The rest of the movie is so spot on. So that we know the fact that when he goes in to meet this new money woman's father, it's like guns and taxidermy. And he's just all about being super macho. And it is that 80s. The new rich people are coming to take over and they don't. Sorry. They don't have a lot of class. They're a little crass.

[22:54] Jessica: They're crass. Not class, just crass. And it's so easy to hate her because she's not loud, she's not terrible.

[23:03] Meg: She didn't do anything wrong. She's just uptight. It's.

[23:06] Jessica: She's so. Yeah, I guess uptight is the word. She's just so syrupy and like.

[23:13] Meg: Jill Eikenberry plays her character.

[23:16] Jessica: Oh, my God. That was Jill Eikenberry.

[23:19] Meg: Yeah.

[23:19] Jessica: Oh, My God.

[23:21] Meg: And you feel bad for her. And she's. She's like, it's okay if you drink. It's fine. I mean, she's just a bad match for him. There's nothing wrong with her. She's just not for him. She's.

[23:33] Jessica: She's just someone you wouldn't want to hang out with. She's just boring and like. But yeah, the scene again, you know, the writing is so. It's so sublime because even when the joke is terrible, it works. And it works because it's Dudley Moore. But when they're sitting at the dinner and she's like, take my hand. And he goes, but that would leave you with only one. I. I was like, I. Oh, God, I love these people.

[24:04] Meg: So basically, his extremely wealthy family says they're gonna cut him off without a

[24:10] Jessica: penny, not a thin dime.

[24:13] Meg: And what does she say? Oh, Geraldine Fitzgerald plays the grandmother. And she says, you're too old to be poor. Is that what she says?

[24:22] Jessica: Yes, I'm too old to be poor. I like someone to come in and give me that.

[24:27] Meg: They actually name the number that he's going to inherit just because it's the 80s. And show us the.

[24:33] Jessica: Show us the cash. Yes. $740 million in 80 in 1981 money.

[24:40] Meg: Right.

[24:41] Jessica: So that's pretty cuckoo. Cachuchu. And so he tries.

[24:45] Meg: He says, you're right, I. I am. And somebody suggests that he just have Liza Minnelli as his mistress. She's not going to do that. No friggin way. Plus there's another antagonist, the father of Jill Eikenberry, who's like, if she is not happy every day of her life, I'm going to stab you with a knife.

[25:09] Jessica: I was just gonna say, I'm gonna put a hole in you.

[25:11] Meg: And again, such incredible writing to, like, just make the stakes that much more intense. So nobody can be like, on a couch going like, I've got a solution for you. No, there's no solution.

[25:26] Jessica: Like, he is a totally trapped rat. And it makes Liza Minnelli's character. It's Linda.

[25:32] Meg: Yes.

[25:32] Jessica: The way that the stakes have been raised. Again, maybe it's just Dudley Moore, the way he plays it, but you realize pretty quickly that he realizes she's his way out, even without the money. That, that it's like the pressure, the life, the expectations, all of that, which are constructs, they're not real to him.

[25:59] Meg: And it's eventually articulated that perhaps one of the reasons why he drinks so much is because he isn't very happy.

[26:08] Jessica: Yes. He's a bit miserable.

[26:10] Meg: Yeah.

[26:11] Jessica: So. And what's so funny to me is, like, so I don't know how many minutes into this podcast we are, but we've barely talked about Liza Minnelli and her performance in this, which is so funny.

[26:22] Meg: It's time to talk about her. Can I tell you, when I first saw the movie, I didn't think she was a very good actor. And when I saw it this time, I was like, oh, well, she's playing. Her character. Linda is, in fact, an actress. So I'm like, maybe she's playing a bad actress. And ultimately, I found her much more charming this time around than I did the first time around. But I'm still gonna kind of say that I'm not entirely sure that Liza Minnelli is that great of an actress in this movie. You said it.

[27:01] Jessica: No, no, that's fine. Funny enough, I watched Cabaret for the first time in years, maybe not even a week ago. And so that was very fresh in my mind. Seeing her in this, it's kind of like all of the sp. Sparkle that she has naturally was not really put to great use in this. I felt like. It's not that she's not important, she's just. She's a vehicle for his character to grow up. And the whole movie, you know, you said it's a love letter to New York. I think it's a love letter between Hobson and Arthur. And so Linda is kind of the person where Hobson, who knows he's not gonna be around much longer, recognizes that she is a solid person and going to take him away from what makes him into an irresponsible child, because that's what true love can do. And Hobson's just a big old softie. And so she's. She's. Her character is kind of, in many ways more symbolic than deep and possibly.

[28:20] Meg: I mean, here Liza Minnelli is such an incredible stage performer, and cabaret is a Technicolor kind of story in film, this not so much. And perhaps if she had played a little bit more of the straight man. We don't need two kooks.

[28:39] Jessica: And can I just have that on a T shirt? We don't need two kooks. All right.

[28:44] Meg: You know what I mean, though? Y. I think it might have worked a little bit more honestly in her favor. But there is one just beautiful comic moment that she has when they're in the church, and I'm trying not to spoil everything, but when they're in the church and the father of Jill Eikenberry is freaking out. And Jill Eikenberry says some doesn't realize that Liza Minnelli is, in fact, her. Her rival. And Liza Minnelli at one point just

[29:19] Jessica: goes like, oh, you poor girl. I know, it's. I know. It's so fun.

[29:25] Meg: The timing of that is so lovely. Yes. Oh, one more thing about class. The one fight. And, you know, if this really is a love story between Hobson and Dudley Moore, they have to have conflict. And the conflict is when Hobson says something snarky and classist about Linda. And Dudley Moore lets it rip and storms out of the room and comes back and says, I've never spoken to you that way in my entire life. And they make up, and it is beautiful. And Hobson, it was absolutely his fault. He just.

[30:11] Jessica: He was a dick.

[30:12] Meg: He was a dick.

[30:13] Jessica: But it's also the moment where Hobson realizes that Dudley Moore. That Arthur is growing up because he cares about another person more than he cares about himself and is willing to stand up to his father figure and defend this. This other person no matter what. It's so. It's just so sweet.

[30:36] Meg: I'll watch it again. And I mean again to talk about the music. It's not just the Christopher Cross song, which it is possible that there are people listening to this podcast that do not know this song. I'm so happy that you will get to listen to it for the first time after this. But also. Sorry, am I over?

[30:55] Jessica: No, no, no, no, no, no. I'm. I'm just. I'm just delighted by the way you're describing it. And. And that Christopher Cross really was one of the main. Just if you. If you're wondering, like, what did the 80s sound like? Like, that's Christopher Cross was. Was.

[31:12] Meg: Or specifically 81.

[31:15] Jessica: No, no, but, like, one sound, like. But, but. But the yacht rock.

[31:19] Meg: Yes.

[31:20] Jessica: Sound from the late 70s, I would say, until, like, 1984. Like, that. There was no one more perfectly suited. Did he also do a song for Breaking Away?

[31:37] Meg: Oh, I'm not sure. We have to look at that. Of course, that's also an incredible soundtrack.

[31:42] Jessica: But also, I think it was Ride like the Wind. Like, was that.

[31:45] Meg: Oh, is that embracing that?

[31:46] Jessica: Is that for Breaking Away? I don't know if I'm having, like, a false memory, but that's. It's in there somewhere.

[31:53] Meg: Well, not only do we have in Arthur the incredible Christopher Cross song, but also just the incidental music, the music when there's crisis happening, the music when they're looking for each other. To be reunited. Everything. I mean, the soundtrack, the actual soundtrack is just. Ugh. I mean, I wish it was a soundtrack of my life.

[32:17] Jessica: Oh, Meg, that's so sweet. Well, if we take a cab tonight, I'll sing. When you get stuck between the moon and New York City the best that

[32:31] Meg: you can do the best that you

[32:34] Jessica: can do is fall in love.

[32:49] Meg: A couple more fun facts. Do you remember how much the subway cost in this movie?

[32:55] Jessica: No.

[32:55] Meg: 60 cents.

[32:57] Jessica: My God.

[32:59] Meg: And this movie, Arthur, was the fourth highest grossing movie in 1981.

[33:06] Jessica: Well, what were the other three?

[33:07] Meg: Well, I don't know that.

[33:09] Jessica: Okay, well, I'm sorry. I should never have asked. Shame on me.

[33:12] Meg: And the wonderful Gloria was played by Anna DeSalvo.

[33:18] Jessica: She is a character actress who, once you've seen her, she's like, you know, you see her everywhere. She was in Working Girl. She was one of the girls.

[33:28] Meg: She was in Woody Allen movies, too.

[33:30] Jessica: Yeah, but she was. She was one. I think she was one of the Staten island girls. But, yeah, she's one of those people. Like, now you'll see her everywhere.

[33:40] Meg: Well, I wish there was a full moon tonight so that we could also have that moment of being under the moon in New York City, but unfortunately, it's like a new moon, so.

[33:50] Jessica: And it's overcast. But I'll still hold your hand and sing to you if you want me to.

[33:54] Meg: Thank you very much. And if you are new to this podcast, we would love to hear what you think, preferably in the form of a positive review on Apple podcasts, because those things really help our algorithms. Indeed.

[34:12] Jessica: Yes, we. We would prefer it if you liked us publicly.

[34:20] Meg: Exactly. That would be great. And go to the Instagram, too. We haven't talked about the Instagram for a while, but. Yes, but we've got an active Instagram. And welcome.

[34:29] Jessica: Yes, welcome. Welcome to the Madhouse.