Every week, Landon Palmer and Cole Abaius log on to their favorite chat client of 1996 as OhDaeSu2039 and CatsandDogsLvng2Gether in order to discuss some topical topic of interest. This week, the duo try to avoid the pitfalls of bad novel adaptations by exploring some of the best. How do you take a work by one and turn it into a work by thousands? How do you appease fans while introducing a new audience to the story? Does it always involve whale genitalia? What are the rules of making a great film adaptation of a book?

Every day, come rain or shine or internet tubes breaking, Film School Rejects showcases a trailer from the past. It’s truly fantastic that in this world of course, Clark Gable once made a movie with Marilyn Monroe. It’s even better that it’s an existential love story that plays like Street Car Named Desire in the middle of Nevada. The bonus is that Monroe is insanely good at paddle ball, even if it does lead to bar fights. It’s the 1960s answer to the Western genre, modernizing it and placing a gorgeous blonde bombshell right in the middle of Gable and Montgomery Clift to see who can make it out alive. Check out the trailer for yourself:

A not quite finished film from Orson Welles that was shot in 1972 may very well soon see the light of day, according to The Guardian. The film, titled The Other Side of the Wind, is purportedly about the last days of an aging filmmaker, and was shot by Welles while he happened to be in his last days as an aging filmmaker. How Meta. Welles himself described the picture to its star John Huston as being, “about a bastard director… full of himself, who catches people and creates and destroys them. It’s about us, John.” Could it be that this bit of scripted work acts as a sort of companion piece to Welles’ phenomenal documentary F for Fake, which was made around the same time and centered itself around falsehood in the arts, both literally and figuratively? Regardless, I think that anybody could agree that any chance for the world to see another film made by Welles is an opportunity far too good to pass up. Or, at least, most people could agree. There is a slight dispute as to whether the film should be finished or not. Actor/director Peter Bogdanovich was apparently given extensive notes about the editing from Welles during the production and currently camps are divided as to whether a team including Bogdanovich should be allowed to create a final edit of the film or if they should just release the raw footage as Welles left it. I think experience has shown that in situations like [Due to Content Scraping and Theft, we have been forced to try abbreviated feeds. We apologize for any inconvenience this may cause and woud very much appreciate you clicking through to view the full article on FilmSchoolRejects.com]

Every week, Film School Rejects presents a movie that was made before you were born and tells you why you should like it. This week, Old Ass Movies presents: The Treasure of the Sierra Madre (1948)