All good things come to an end. Succession, as it stands, might be the best television program of a generation. As it draws to a close, it marks a distinct end of an era for HBO shows and the future of television. What does Succession tell us about the state of television, the future of prestige appointment television, and the shaky future ahead for Warner Bros. Discovery and their latest rebranding exercise? Friend of the show and The Twin Geeks television correspondent Tyler Harford joins the program to discuss all this and so much more about the current state of premium television.

If it's a podcast ya want, yer in one. Aaron White of Feelin' Film joins the show to discuss the spirited Pirates of the Caribbean franchise. From top-to-bottom, we trace the lineage of the Disneyland ride that inspired the franchise, the great Gore Verbinski action vehicles that defined the movies, those other two entries, and even a rarely-covered short film. Within our discourse, we discover a great love for the nautical adventuring series and lament the end of a certain kind of blockbuster that seemingly ended right after Verbinski's run and how the newer films also reflect a new reality.

Dad & daughter join forces as a podcasting duo for the first time ever to record their thoughts after seeing Illumination's Mario film in theaters. Ezra shares her favorite videogames, movies, thoughts about the Mario Universe, Dreamlight Valley, and our shared favorite movie experiences. It's a special show about how families connect over movies and videogames. Let's-a go.

There’s no crying in baseball, as friend of the show Renee Marie joins for a wide-ranging discussion of the iconic A League of Their Own, which remains the pinnacle of Women’s Sports Movies. Films that live with us are our bread and butter. This is especially true for this episode, as Renee has a close personal relationship with the film, informed by hosting trivia nights, meeting one of the film’s stars, creating cosplay for conventions, modeling her cosplay for the film in magazines, and most resonantly, the idea of films being tied to important people in our lives and how they help us process feelings at just the right moment. All this, and in-depth discussions of Pokémon GO, Douglas Sirk & Hallmark Films… It’s time for a seminal sports movie classic on this week’s The Twin Geeks! Enjoy the show.

Our friend JD Duran from InSession Film joins the show to discuss the complete works of James Cameron’s filmography, why he is the king of sequels, and how his career as a foremost technician has advanced the course of filmmaking.

Every Best Picture winner in Oscars history enters and all are ranked according to your hosts, Calvin and Matt, organized into tidy tiers for your viewing and listening pleasure. Every movie has been watched, evaluated, and slotted into careful placement in our lists, including all but this year's eventual winner.

The Twin Geeks co-founder David Punch presents his list in this The Twin Geeks podcast special, presented by Stephen Gillespie

It's a The Twin Geeks tradition! Our resident Halloween expert Jesse joins the show to talk Halloween 4: The Return of Michael Myers, Halloween Ends, seasonal horror watches, and... Radiohead's In Rainbows (2007). See you next year!

Over the course of nearly 50 active years in the film industry, Robert Altman created a total of 35 unique and creative feature films. It has been a long journey to catalog the trajectory of that storied course, but we come now, some four months later, at the end of the road. From an early peak in the mid-1970s, he was churning out an unmatchable string of masterful ensemble contemplations, to a rough era of uncompromised artistic efforts in the '80s, which suffer significantly in spite of his rejection of rigid studio control. The '90s saw a triumphant return for Hollywood's most notorious maverick, with both audiences and backers alike. A revived interest in Altman as a creative force allowed him to finish out his career in splendor, working up 'till his dying days on his latest project of eminent interest. Altman proved with his late-career successes that his creative well never dried, but were his final creations of the same caliber and interest as his greatest masterpieces? Tune in for our final episode discussing the entire career of the late, great, Robert Altman. 

It's not often, in Hollywood, that our heroes find a second wind. It's true that everyone loves a happy ending, but they love a devastating tragedy just as much, if not more. Some of the industry's most treasured pioneers spent the later halves of their career languishing out in the cold, and after more than a decade of relative isolation from the bigwigs in California, it seemed like that same familiar fate was destined for Robert Altman, too. But in 1992, Altman had his comeback, and in such a way that couldn't have been more perfect for the man who spent his entire time in the sun bucking the profit-driven conventionality of the Hollywood system. The Player was an incisive mockery of Hollywood using the tools of its myriad stars and rote ideas against itself, and it was a resounding success. Because even more than a happy ending or a tragic downfall, Hollywood loves to be cynical about itself.

Throughout his career, Altman had always prioritized an interest in his actors, and that reputation now returned its favor in a career-saving way. Everyone in Hollywood wanted to work with Altman, and so when the time came to enlist a gargantuan cast of Hollywood's most famous names, everyone came on board, solidifying the inside-nature of The Player while also building its audience appeal for an artistic swing that couldn't miss. Altman carried over this clout and size to subsequent projects throughout the '90s, following up his massive hit with an amalgam adaptation of Raymond Carver short stories in Short Cuts (1993) and a comic exposé of the Paris fashion scene in Prêt-à-Porter (1994). He returned to his roots with a jazzed-up gangster flick set in his home town, Kansas City (1996) before trying something completely new by making a conventional no-frills thriller. The Gingerbread Man (1998) was adapted from an incomplete John Grisham novel, and its failure to impress either audiences or critics dampened the high Altman was riding from his nominal comeback, already on the downslide thanks to the middling reception of his previous two films.

Altman's continued trend of adapting stage plays into feature films proceeded into the end of the '80s with mixed successes. On one hand there were films like Secret Honor (1984), a scaled-back character study of a fictional Richard Nixon contemplating on the missteps and bitter grudges of his tumultuous political career, carried by an astounding one-man performance from Phillip Baker Hall. On the other you have something like Fool for Love (1985), an oddball testimony of toxic relationships that occasionally dips into the surreal and esoteric, with no clear reasoning or well-defined characters to ground its unaccountable departures. He did make at least one studio film between now and his eventual Hollywood comeback, a supposed satire on the burgeoning teen comedy genre called O.C. and Stiggs (1985), based on a beloved National Lampoon article from the time. Altman himself considered it a total failure, and the questionable politics and sensibilities of the story somewhat call into question the sensitive and socially intuitive Altman we thought we knew from a few films back.

And if that doesn't assure you completely of his lack of consideration for marginalized characters, then the unmitigated offenses of Beyond Therapy (1987) will surely remind you that the '80s were a time bereft of needed allies. Fear not, though, as promises of the breakthrough to come manifest in a television mini series he did with Tim Roth and Paul Rhys on the life of Vincent van Gogh that was later truncated and released theatrically, appropriately called Vincent and Theo (1990). There's something about the tragic arc of the famous Dutch artist's failed career that fascinates us cinematically. He's been the subject of so many films, even to this day. It seems only natural that as individual an artist as Altman would take a stab at capturing his life and emotions on celluloid, with greater insight and sensitivity towards his plight than most other hagiographic renderings have lent him.

The legacy of Robert Altman presides mostly in the '70s, based on the strength of his back-to-back run of multiple masterpieces in the early part of that decade. That trend did not continue for him on into the '80s, as a series of previous flops put him in a precarious scenario of needing a big commercial hit that studio executives were praying would allude him. Peculiar oddities like A Perfect Couple (1979) and HealtH (1980) estranged him from producers in Hollywood, on top of already being something of a pariah for his maverick-like approach to directing his pictures, and they were looking for any reason to box him out for good. After the perceived disaster of his big-budget Popeye adaptation (which was actually a financial success), Altman was booted from Hollywood and forced to take up work on the stage. Subsequently, he adapted Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean (1982) and Streamers (1983) into critically successful works that, while no boon with audiences nor studio heads, revived his flagging reputation in the eyes of critics around the world. The '80s was certainly no high point for Altman's directorial career, but it was certainly not a wash either.

If the central thesis of Altman's directorial bent has always been an investigation of what America means, then Nashville (1975) is his ultimate statement on the matter. This sprawling opus of the country musical capital of the country brings together all the disparate, intersecting elements of our culture into an overlapping menagerie of cultural curios and distinct personalities, clashing and interacting with one another as political tensions broil in the background. Altman produced this film on the eve of American's bicentennial anniversary, and he must have been obsessively aware of the nation's foul spirit of patriotism clogging up the air, because he followed Nashville with another incisive examination of American culture. In Buffalo Bill and the Indians, or Sitting Bull's History Lesson (1976), Altman turns to the past to discover the roots of America's performative history. The origin of the Wild West show, and its myth-making, is put on blast here, exposing the charlatan Wild Bill as the revisionist and exploitation artist he is, reliving the subjugation and erasure of the Native Americans from their land now through popular entertainment. It's a worthy satire for Altman, but one that may be already apparent from the film's lengthy title alone. 

The origin of 3 Women (1977), Altman always said, came to him in a dream, but he pitched the story to producer Alan Ladd Jr. claiming it was a story he read and wanted to adapt. As ever a master he was at gaming the system as he was at making some of the greatest films of all time, it never ceases to amaze how Altman managed to convince these big studios time and time again to take risks on these odd and esoteric art films, all of which inevitably lost money. 3 Women may be the best of the bunch, with strong themes of identity and thick, surrealist atmosphere to match the dreamlike nature of its conception, Altman delivers an incredible, interior work of art that leaves you with just as many questions as the most enigmatic of dreams often do. While doing publicity for 3 Women Altman was asked what his next movie would be. Glibly, he responded, "a wedding," as amateur recordings of events was a recognized craze. But the more he thought about the off hand remark the more he realized how good an idea it actually was. A grand, centralizing setting with a large cast of characters; a perfect opportunity to create a cacophony of overlapping dialogue and stories; a coming together of two socially distinct sects of society under the umbrella of a religious tradition core to the practices of the American people -- what's more Altman than that?

A Wedding (1978) is all of those things, and more, but for once the outsized nature of Altman's ambitions seems too large for even him to wrangle in. The cast is twice the size of that in Nashville, an intentional challenge on behalf of the film's writer to outdo the grandeur and spectacle captured in masterpiece. But when you're writing characters to hit an arbitrary quota instead of following what the demands of the story call for, it's inevitable that many will fall by the wayside or feel underdeveloped. A Wedding retains all the hallmarks of an Altman epic, losing none of the deftness of his directorial talent in the process, but a certain ineffable elements remains missing all the same. Such is the case as well in Quintet (1979), a bizarre, unknowable effort from Altman in which he is clearly as present as ever behind the camera, but the audience is left out in the cold. As his only true work of fantastical science-fiction, Quintet is at least notable in its total departure from convention for Altman, fixating itself on the quasi-near future in which a new ice age has overtaken the planet and the small clique of surviving humans occupy themselves with the titular game of life and death. It's so erratic and offbeat that it's difficult to even describe, as the setting and nature of the game are never made particularly clear by the film itself. But, Altman seems to understand it all in spite of how he attempts to communicates with us, only failing in the sense that it made no money and both audiences and critics rejected it out of hand. Even today, Quintet is far from a beloved cult classic of Altman's oeuvre -- but who knows, maybe Altman buried some sincerely true revelations within the bedrock of this singularly outlandish art film, and all of us are simply incapable of seeing through the frosted glass of his camera lens to perceive it as the masterpiece it is... but probably not.

And thus began Altman's unprecedented run of innovative masterworks. One by one, Altman ran the gamut of American genre favorites, upending and undoing every convention and expectation held within their structures as a means of dissecting and interrogating the inherent truths buried beneath their mountains of cliches. Time and time again, contemporaries of Altman have called McCabe & Mrs. Miller (1971)(a film Altman himself dubbed an "Anti-Western") his greatest film. Not to give away the ending, but we tend to agree. Images (1972) was Altman's sole contribution to the horror genre, and quite expectedly for the maverick director, its unconventional nature sets it apart from comparable contenders and leaves an indelible impact on the mind. His signature iconoclasm is never better represented, however, than in the tearing down of an American literary favorite in the form of an adaptation of Raymond Chandler's The Long Goodbye. With Elliot Gould starring as the ineffectual, yet still effortlessly cool, Phillip Marlowe in a complete subversion of the typically suave and collected Noir private eye. Continuing their collaboration, Altman and Gould pair again for California Split (1974), a buddy comedy with sinister undertones as the specter of addiction looms over the heads of two free-wheeling, luckless gamblers. It was inevitable, then, that Altman would find himself drifting towards the nostalgic trend of reconsidering the romantic vision of the turbulent Great Depression and the lionized gangsters of that time. Thieves Like Us (1975) strips away most of the action and drama to focus on the intimate conflicts of such characters, achieving a kind of tragic serenity that, while quite of a piece with the earlier Altman upheavals, nonetheless retains his signature of deconstructing the American psyche in search of inherent cultural truths nestled in their cores.

Often recognized as a maverick within the Hollywood system, during a time when everyone was a maverick trying to reinvent the American industry just as it had creatively bottomed out, Robert Altman was truly a filmmaker of his own making. Preceding his New Hollywood contemporaries by about a generation, Altman fought in World War II and made his directorial debut in the '50s, before moving on to hone his craft in television. Over time, Altman would become known for his naturalism as a filmmaker, utilizing a detached camera and improvisational, overlapping dialogue to give his films a sense of realism relatively unknown to the American scene. He had an innate sense for social critique, beginning with his breakout success M*A*S*H in 1970. But you can see this style reveal itself even before this career-defining work, as Altman the director was seemingly born just the year before with That Cold Day in the Park (1969). From the beginning to the end Altman remained an individual talent. Even in his earliest efforts a uniqueness remains potent, despite any efforts to eradicate his voice from the picture. So much so, that by the time of Brewster McCloud (1970), you could confidently say nobody else had neither the skill, nor the gall, to make such a film.

Bakshi continued his pursuit of avante-garde animation throughout the 1980s. His refinement of rotoscoping as a means of perfecting the fluid translation of human movement continued into the decade, beginning with American Pop (1981): a jukebox journey through America's cultural apogee, starting with the sonic roots of vaudeville and ragtime, building towards an electric rock 'n roll climax through the eyes of four musicals generations. 1982 saw the release of a project Bakshi first began after the production of Cookskin (1975). Hey Good Lookin' was originally envisioned as an animation/live-action hybrid, but was scrapped by Warner Bros. after its initial completion when doubts around its financial prospects festered. Bakshi worked on it off and on between his various other projects, eventually releasing it as a completely animated feature, far from the innovative conceit he initially pursued.

With Fire and Ice (1983), Bakshi collaborated with legendary comic artist Frank Frazetta in order to ride the wave of popular sword and sorcery films kicked off the previous year by Conan the Barbarian. Bakshi returned to the reliable shorthand of rotoscoping in order to effectively convey the requisite amount of action the film's story called for. Despite failing to capitalize on the market's purported success for these kinds of films, Fire and Ice eventually found a cult following in the home video market, maintaining a niche fanbase to this day. After that, Bakshi shifted his priorities back to television, heading a revival for the old Terry Toons creation Might Mouse, coming full circle to the place he began in the industry. It was nearly another decade before Bakshi made another feature film -- his last, in fact, for both the animated medium and the silver screen.

Cool World (1992) was Bakshi's most ambitious and star-studded film, bringing with it a greater wave of scrutiny than any of his previous underground works had ever received. With big names like Brad Pitt and Kim Basinger attached, along with the publicity power of Paramount Pictures in tow, Cool World was positioned to be the most commercially viable film of Bakshi's career. That's probably one of the biggest factors that led to its ultimate failure, alongside studio interference curbing Bakshi's initial vision of hybrid animation/live-action horror film into the more audience-friendly Who Framed Roger Rabbit? riff it finally ended up as. Its wider reach led to greater declamation, and the effective end of his movie-making career. Two years later Bakshi directed a made-for-tv film for Showtime, notable only for its debut of Jared Leto as a leading performer, and for being the only non-animated film of Bakshi's entire catalogue.

There are plenty of ups and downs to be found through Ralph Bakshi's storied career. His works are often crudely uneven, and even controversial in their imagery and messaging. But these uncomfortable elements are what ultimately make him a compelling and pioneering figure in film history. Beyond proving a viability for adult-centric animated films which can talk about sex and politics and institutional racism, Bakshi struck out with a unique sensibility for the form itself, combining any and all techniques available to him in order to further his provocative and creative artistic sensibilities. Whether he was drawing from his own life living in impoverished New York slums, or adapting the works of literary titans, Bakshi brought something wholly unique to the animated scene. And despite the relative retirement he presides in now, having been rejected by the movie-going public too often to continue, his work lives on and speaks for itself. There's a reason Bakshi's legend lives on, as the field of animation increasingly returns to the homogenous, Disney-centric sensibilities he once railed so thoroughly against. Despite consistent flaws, Bakshi's work maintains a uniquely subversive quality which resonates some thirty years past his last theatrical contribution to the medium.

With the death of the Haye's Code in the late 1960's and a dearth of new movies from the Disney Corporation's homogenous stranglehold over the field of animation, the time was right for new players to take up the field, carving out a unique landscape in cinema which was not only varied in its style and artistic voices, but in its audiences as well. The leader of this pack was a Jewish animator from a historically Black neighborhood in Brooklyn -- two informative elements of Bakshi's past which would inform much of his earliest work in feature film. He cut his teeth in television, working on a variety of serialized cartoons with an emphasis on slapstick and comedy, honing his skills for the eventual day he would aim to apply these sensibilities beyond the limited scope of children's entertainment.

Those ambitions culminated in the first animated film to receive an X Rating: 1972's Fritz the Cat, an adaptation of Robert Crumb's provocative comic strip satire of the same name. It was the first of several X-Rated animated films Bakshi would make, each building off the low-budget, underground, urban aesthetics inherent to the director's innate sensibilities. His art would perpetuate a propensity for lewdness, feature excesses of nudity and violence as a means of not only challenging audiences' preconceptions of what animation could and should be, but also as a means of harkening back to the medium's origins, where titillation and subversion were primary appeals of the animated form. Bakshi would go on to apply his inherently transgressive sensibilities to more conventional animated avenues, brightening up the fantastical worlds of Wizards (1977) and an innovative adaptation of The Lord of the Rings which would impress itself as a vital influence on the later definitive interpretations of Peter Jackson.

While certainly popular in his time, Bakshi always struggled to get his films made. Even in their most broadly appealing form, each were distinctive counter culture works, challenging the viewer to engage with Bakshi's vision on both visual and thematic levels at every turn. They are not always easy works to swallow -- Bakshi's fearlessness when it comes to depicting racial caricatures as a means of uncomfortable satire and cultural reflection has never been unanimously received -- but that willingness to challenge viewers continues to make him a fixture of cinematic interest. Though the craft is often crude, for any number of different reasons, Bakshi's works endure as distinct, innovative cornerstones in the canon of feature animation.

The world's most famous rock band. The last vestiges of a style and sound still thriving after the world has moved on to so many other modern genres. A link to the revolutionary sound stemming from Seattle, Washington in the early '90s, birthed from the ashes of its most infamous loss. And now, another cloud of ash threatens to blanket the Foo Fighters for good, as the tragic eruption of drummer Taylor Hawkins' untimely death signals a potential conclusion for this group's near three-decade run of unrivaled success. From a mixtape hodgepodge of frontman Dave Grohl's lingering ambitions to becoming one of the most successful touring groups of all time, the Foo Fighters have left an impression on the musical world which now appears to be an unifillable hole. In their honor, though, we seek to be on the mend. Their music and legacy will survive any long road to ruin, to live on in history, everlong. Join us for a career retrospective on the Foo Fighters, celebrating and remembering the documentaries, feature film, and ten studio albums produced by virtue of their inimitable talents and artistic chemistry -- each component as vital to their success as their lead singer's iconic charisma and stage presence.

Take a new look at the world around you. Look through a mirror. What does it say about your world that is new? The cinema of Jean Cocteau is a world of mirrors and new ways of imagining the world. Looking at Cocteau’s movies is also a kind of gazing into a mirror, reality reflected back more fantastical, more fabulous, more than the real thing ever could. Cocteau made the prosaic profound.

Cocteau called mirrors the door from which death comes and goes. They are essential Georges Méliès-styled visual trickery. They stand for narcissism, of course, and are the poet’s tool for reassessing his relationship between imaginary space and the space of his reality.

“Perhaps you’re afraid?

“No.”

“But this mirror is a mirror and in it I see an unhappy man. You do not have to understand. You just have to believe.”

Take a tuning fork and some very clever trick photography and you have enduring cinematic magic. The rest is literature.

Liquid mercury is used for the mirrors in Orpheus. We can take the mirrors in the film literally: they mean to reflect life. But they can also be full of metaphor. The men in the film can stand as homoerotic doubles and their charged energy, of life reflected against death, and sex mirrored back onto itself, say and show exactly what they seem to do. Mirrors in Orpheus are cinematic inversions. They are Cocteau subverting the norms of what is usually on screen and what he wants to show, to bring us into another world. What was once wholly original, a hand reaching into a mirror and opening up an entire other zone, is now cliche, out of the necessary utility of its effectiveness.

Cocteau said “mirrors should think longer before they reflected.” His cinematic creations are a means of making that happen. Cocteau wants the mirrors not only to reflect but to show everything to his characters.

In less literal terms (although maybe we ought to take Cocteau literally always), the characters of Les parents terribles are mirrors. The parents of the film are holding up their own projections, of their relationships and failings, and holding them against the young man at the center of the narrative. For those who like miracles, this is a masterpiece.

To be a writer is to write without writing. Again and again, that’s what Cocteau does. In his final picture, The Testament of Orpheus, he finishes his thesis on mirrored subjects. The artist now holds a mirror up to himself. It is a self-examination made for art’s sake. Watch it because you want to witness Cocteau’s reflection and live inside his mind and his mirror for a while.

Today we’ll explore all three, rounding out our retrospective on one of cinema’s greatest imaginations. Long live Cocteau, the multi-hyphenate who played with mirrors and every other way of telling a story.

Let’s hold up a mirror to a life’s work in the arts. A legend is beyond both time and place. Cocteau’s legacy lives on in the films. Into the mirror we go. The rest is literature.

Take a commonplace, clean it and polish it, light it so that it produces the same effect of youth and freshness and originality and spontaneity as it did originally, and you have done a poet’s job. The rest is literature.

Jean Cocteau. The rest is literature.

When Cocteau was a young boy he said he would be clever later. He said his father was a painter. Boys say a lot of things. His father was an amateur painter, a lawyer by trade. His father killed himself when Cocteau was nine.

You are not what you do, after all. You are not your work, you are not your suicide. Poets only pretend to die. You are not even your art but your art is the greatest reflection of self. Awaken from the reverie of your orphic dream. The poet creates and never insists upon his poetry. He is a poet because what he makes sings with all of his soul.

When the editors of Cahiers Du Cinema collectively disavowed the stagnant literary-leaning past and present of French cinema, they kept the Masters. Robert Bresson, Jeen Renoir, and Jeen Cocteau were anti-modernists making movies that would be new forever. The masters suited the artistic ethics of the Nouvelle Vauge. Cocteau then embodied the past, present, and future of the French cinema. The rest — as the Cahiers crew would insist — is literature.

Children believe what we tell them. They have complete faith in us. They believe that a rose plucked from a garden can bring drama to a family. They believe that the hands of a human beast will smoke when he kills a victim, and that this beast will be shamed when confronted by a young girl. They believe in a thousand other simple things. I ask of you a little of this childlike simplicity, and to bring us luck let me speak four truly magic words, childhood’s “open sesame":

Once Upon a Time...

The gem of today’s triple feature, Beauty and the Beast (1946) is the pinnacle of fantasy storytelling in film. Marrying Cocteau’s multi-hyphenate interests in the poetic and the balletic, the film achieves the beauty of a stage play with the heightened specificity of what it means to make a film.

It provides an exceptional bridge to understanding his other work: his varied interests and grounding in ‘20s-era surrealism with a literary bent.

Today, we draw back the curtain on a life lived in the arts and celebrate three pieces of a storied career of a real master craftsman.

First, we venture into The Blood of a Poet — perhaps the first poem film to make headway with international success. Because it is first, it can disregard histories, examples, and rule books, and is permitted to tell its own story uniquely in the text. Cocteau wrote, “To sum up, The Blood of a Poet and my new film Beauty and the Beast are aimed at the aficionados. It is true that I do not kill the bull according to the rules. But this contempt for the rules is accompanied by a contempt for the danger that excites a large number of people.”

Poetic art is creation with regard to space and feeling, moved by the dance of the human spirit, and unconcerned with the linearity of rules. “Poetry begins to atrophy when it gets too far from the music,” Ezra Pound said. Like the myth of Orpheus who could sooth all animals and nature with his poetry of music, the film is equally connected. It has no false symbols or ornamentation that does not add punctuation. It doesn’t have to mean anything, it just is.

Crucially, composer Georges Auric is involved, who would score 11 films for Cocteau. His score is a remnant of his avant-garde period and thus embodies and directs the film with its certainty of purpose. His later works would become more populist as he worked hard to square his work with leftist political beliefs that could reach audiences.

Georges Auric’s compositions are the fundamental through-line between the three distinctly different films.

In Beauty and the Beast and The Eagle with Two Heads, Cocteau has likewise found a more connective populist style. While the films begin to subscribe to the director’s own rule book and definitions without relying on the past, they use familiar constructions and foundations to wildly different ends.

Both are wondrously shot. The camera glides. The black and white is silver in its glow. The steady beauty of it all is overwhelming, singular, well considered.

And yet, with accessibility, Cocteau remains poetic. His films still move smoothly over uncovered terrain and define the fairytale and romantic stories in ways they have simply never been visualized.

His astute gift for defining the image with his camera and getting the most out of untrained actors pays dividends. The poetry sings. The films move with singular beauty. Open sesame. Them movies are poems all right.

Cocteau has done a poet’s job. The rest is literature.