 All right. Good evening, everybody. Welcome back to classic Tuesdays at the Bedford Playhouse Virtual Playhouse Edition. I'm Dan, I'm the director of development and programming and very happy to be talking tonight about one of my favorite films from quite a while now sweet smell of success with Bert Lancaster and Tony Curtis. Susan Harrison, Martin Milner and directed by Alexander McKendrick. Before we start, if there are any new people among us who have not become accustomed to zoom at this point. If you would like to ask any questions. The Q&A button is at the bottom of your screen on your laptop or PC. It is at the top of your screen if you're on your iPad or iPhone feel free to ask any questions, make any comments. Anything you'd like to share any thoughts. It's a really great film that has a lot of different things going for it, which we're going to try and cover tonight. Just a reminder that the playhouse is still closed due to the effects of COVID-19 virus. We do hope to be able to reopen as soon as we have permission from the state to do so. But in the meantime, we are going to try to continue to operate virtually and bring programs such as this as often as we can, as well as many other different types of events, author talks, and a couple of lectures that we're doing to help people get through COVID. So please check out our website. If you would like to see some of our upcoming programs, and also if you are so inclined, I know there are many of you who have been very generous and contributed to help us through this time. If you haven't, please consider taking a moment to do so at some point in the next couple of weeks. Okay, the commercial now being over. Let's talk about sweet smell of success. It's a film war released in 1957, and it has a very fairly impressive pedigree. Although it was not very well received when it was released, its reputation has improved tremendously over the years in film schools and in art house cinemas in no small part because of the cast, the cinematography and the screenplay, which are all often cited as the textbook examples of those disciplines in the film industry. It was produced by Hect Hill Lancaster, which as the name implies was a production company that Bert Lancaster had formed in the late 1940s with his agent Harold Hect soon to be joined by his partner James Hill. And he became one of the first actors to produce films on a consistent basis, mostly for himself but occasionally for others. And they did a number of notable films in the 1950s, including Vera Cruz, Apache, separate tables and the Birdman of Alcatraz in addition to sweet smell of success. He also actually produced the film Marty which you may remember, won the best picture Oscar in 1955 and Ernest Borgnein, won the best actor that was a film that they produced which Bert Lancaster did not appear in. It's based on sweet smell of success is based on a novelette by Ernest layman and you may remember that name. He's much better known these days as a six time Academy Award nominated screenwriter, and among his credits were the sound of music and Sabrina and West Side Story. Who's afraid of Virginia Wolf, and perhaps what he's most famous for because he wrote a very great book about it was North by Northwest with Alfred Hitchcock he was a screenwriter of North by Northwest. But at this time he's just a novelist, sometimes journalist, not very successful. The screenplay is credited to Lehman, and also to the celebrated playwright from the 1930s Clifford Odette's, who is best remembered for his participation with the group theater back in the 30s, and plays such as golden boy and awake and waiting for lefty many of which were adapted for films golden boy was made into a great film with William Holden. And also the director himself Alexander McKendrick also collaborated on the screenplay although he did not get screen credit for it. The original story was in cosmopolitan magazine appeared in cosmopolitan magazine under the title, tell me about it tomorrow. And the reason they changed the title was because the editor, I guess did not like the word smell and didn't want to be used as part of that. But it was based on layman's own experiences working for a New York press agent, who was named Irving Hoffman, and Hoffman subsequently, after the publication of this of this novel at really didn't speak to layman for a year and a half, but he then later did write a column for the Hollywood reporter, in which he speculated that layman was someone who might make a good screenwriter. And within a week, layman had a contract with paramount pictures and his career was on its way. William Hecht Hill Lancaster had acquired the rights layman was in position to not only write the screenplay but also to direct the film. But they had second thoughts about that since layman had never really had any experience as a director. And so they hired Alexander McKendrick, who was a British actor director, excuse me, making his American debut with this film. And McKendrick had done a lot of great work for the Ealing Studios in Britain. They were known for making a number of classic comedies, usually with some general common theme about a simple man up against the establishment, usually played by Alec Guinness. The best known of these are the man in the white suit, and the lady killers, both of which were directed by McKendrick. He was originally signed on by Hecht Hill Lancaster to adapt a George Bernard Shaw play called The Devil's Disciple, but that project fell apart in pre production, although they would revisit it later. And he asked to be released from his contract but the producers refused to release it from his contract. And so he was assigned to direct sweet smell of success instead. He had a lot of reservations about filming the screenplay because it was so heavy with dialogue. So he and layman worked on it for several weeks to try to make it more cinematic show don't tell. Towards the end of that process. However, layman became very ill, and he had to resign from the production so McKendrick suggested that Odette's replace him. And at this time Odette's reputation was tarnished because he had named names before the House Un-American Activities Committee so he ended up coming fairly cheap. And they assumed he would only need a couple of weeks to polish the script, but he ended up taking four months. So shooting actually started without a final script. Odette's had a company the production to Manhattan and keep rewriting as they were shooting. That ended up being somewhat traumatic for him. He had all these neuroses about returning to New York after they had more or less shunned him for going to Hollywood in the first place. And so he developed all sorts of ticks and little habits that some of which ended up reflected in the script. But the pace meant that pages would go literally from his typewriter to being shot the same day with McKendrick and the cast rehearsing and making edits to the lines virtually on the fly. So it was not a typical way of working. It was very much a harried process. The producers did allow him, he had never been to New York City. So they allowed him to familiarize himself with New York before the shooting began, particularly in that area between 42nd Street and 57th Street. And so the city is really its own character in the movie and it captures the energy of the crowded sidewalks and they were trying to make it analogous to a story where the characters, virtually all of them are driven by greed or ambition. Tony Curtis had to fight for his role of Sidney Falco because Universal, which is the studio to which he was contracted, was worried that it was going to ruin his career. And he was tired of doing all the pretty boy roles that he had been known for. And he wanted to prove he could act. And he ended up getting his way obviously he paved the way for him to get future roles such as the defiant ones, and some like it hot which showed off his range, a bit more. And although Bert Lancaster has top billing, Tony Curtis has way more screen time and carries much more of the film's plot. The character of JJ Hunsaker was based on the famous gossip columnist Walter Winchell, and originally Alexander MacKendrick wanted Hume Cronin for the part, because he resembled Winchell. And then there was a flirtation with both Orson Welles and Frank Sinatra for the role, but Ernest Lehman always insisted that while Winchell was the inspiration for the character that was in the novelette. It wasn't necessarily the same character as it appears in the film. So United Artists wanted Bert Lancaster, both because of his box office appeal, and because he had paired with Tony Curtis in a very successful film called Trapeze. And so they figured that formula would would repeated success. Bert Lancaster, of course, began as a circus acrobat in the 1930s and after he served in World War Two, he began to build a career in Hollywood as a leading man, his breakthrough role being the killers, which also launched the career of Ava Gardner who co-starred with him in that movie. But he really didn't, he really didn't make it very, very much until his late 30s, early 40s, and then he rattled off a whole succession of great films, of course, from Here to Eternity, The Rainmaker, and Gunfight at the OK Corral were some of the more notable titles on his resume at that point. Gunfight at the OK Corral was one of the first of seven films that he made with Kirk Douglas. They developed a little bit of a buddy film identity and did several films after that. So Sweet Small Success was shot in 1956, late 1956, and McKendrick said they're quite a bit of duress because Pect Hill Lancaster had this reputation for firing directors for little or no reason, but he was also accustomed to extensive rehearsals prior to a scene being shot. But as we mentioned, he found himself shooting pages that had only just been written an hour or two in advance. So in addition to all of that, Burt Lancaster as the producer and the leading man proved to be somewhat of an intimidating presence because he had a notoriously short fuse. And so McKendrick decided to take advantage of this by having Burt Lancaster wear his own glasses while he's in character as Hunsaker, which gives him the appearance of being both a tough guy and a scholar. And that conflict appealed to them quite a bit. They also smeared a little thin layer of Vaseline on all of the camera lenses, which kept Lancaster from focusing his eyes and gave him sort of this perpetually blank stare because he couldn't look into the camera quite the same way. And lastly, they intentionally filmed all of his scenes from a low angle using a wide angle lens and with the lighting directly over his head so that if you notice when you watch it, his glasses cast shadows on his face and give him this sort of strange look because his cheekbones are shadowed by his glasses. It also didn't help their stress level that they were shooting on location in the busiest and noisiest areas of New York City. And they often had to fight off crowds of Tony Curtis fans who broke through the police barricades. They were essentially shooting in Times Square at rush hour with high powered actors and a camera crane, but no script. And this was one reason why the original $600,000 budget ballooned over $2 million by the time the production wrapped. It's completely appropriate to mention James Wong Howe, who was the cinematographer on this film. It was a Chinese born cinematographer. He started working in silent films and by the 1930s and 40s, he was one of the most sought after technicians in Hollywood. And he worked on many, many films, classic films, way too numerous to mention, known for his use of shadows and for his deep focus where the foreground and the background of the shot all remain in focus at the same time. It's the same effect that you see probably most famously in Citizen Kane, which was shot by Greg Toland, but how actually had pioneered the technique just before that. So even though Citizen Kane gets a lot of credit for that effect, they were not the first to do it. James Wong Howe also pioneered the use of the wide angle lens and low key lights and he is the first one to really use camera dollies to give you that horizontal movement of the camera without any bumps or or hiccups. He earned 10 Academy Award nominations, he won twice. And he was revered in the industry he was selected as one of the 10 most influential cinematographers in the history of the medium. And yet in spite of all these successes, as you might imagine, given the time period, he faced a lot of significant racial discrimination in his private life he was married to a Caucasian woman who was not legally recognized their marriage was not legally recognized until 1948. But for all of that, he was truly a master of his craft and I've mentioned a couple of times during these talks there's a great documentary called Visions of Light, which is about the art of cinematography and it is available on YouTube and other places and if you're a fan photography or cinematography I cannot recommend it enough. There's a section on James Wong Howe and deep focus and this this style of filming which is just phenomenal. So for sweet smell of success. They chose to shoot it in black and white with a style that would be reminiscent of New York tabloid photography. So, as we know, the film tells the story of a powerful and kind of sleazy newspaper columnist named JJ Hunsaker, who uses his connections to ruin his sister's relationship with a man that he deems unworthy of her. He enlists the morally bankrupt press agent Sydney Falco, by among other things, bribing him into planting false rumors about his sister's boyfriend to break them up. And as things spiral out of control, he gets more determined to the point where even Falco wants no more part of the scheme anymore, but he can't he himself can't resist the potential opportunities that are presented to him. So we're going to play a couple of clips. We're going to play the first one right now. This is towards the beginning of the film where we meet Hunsaker really for the first time as Sydney Falco joins him in a nightclub. So we'll play that clip please. Oh yes, Justice Mike. That's right. But I believe I had it in my column last July, the lead item. Oh, I believe that's precisely where I read it too. You see, JJ, where I get my reputation for being the best informed man in Washington. Now don't kid a kidder. Well, I don't think we caught your name, young man. Sydney Falco or so, but everybody knows it in my shoes, Senator Walker. Every six years I've become less convinced of that. Well, this young lady is Miss Linda James. She's managed by Manny Davis. I know Manny Davis. Everyone knows Manny Davis, except Mrs. Manny Davis. Go ahead, Billy, shoot. Uh-huh. Sports cars are getting smaller and smaller in California. The other day you were crossing Hollywood Boulevard and you got hit by one. And you had to go to the hospital to get it removed. Billy, you're not following in the column I had it last week. Senator, do you believe in capital punishment? Why? A man has just been sentenced to death. Manny, tell me, what exactly are the unseen gifts of this lovely young thing that you manage? Well, she sings a little. You know, she sings. Manny's faith in me is simply awe-inspiring, Mr. Hunsaker. Actually, I'm still studying. What subject? Singing, of course. A straight concert. Well, why, of course. You might, for instance, be studying politics. Uh, me? I mean, I... You must be kidding, Mr. Hunsaker, me with my Jersey City brains. The brains may be Jersey City, but the clothes are trained in the rail. Are you an actor, Mr. Falco? That's what I was thinking. Are you Mr. Falco? Well, how did you guess it, Miss James? He's so pretty. That's how. Mr. Falco, let it be said at once, there's a man of 40 faces, not one. None too pretty. Can't all deceptive. Is she that grim? That's the, uh... That's the charming speeder chin face. It's part of his helpless act. He throws himself upon your mercy. He's got a half dozen faces for the ladies. But the one I like, the really cute one, is the quick, dependable chap. Nothing he won't do for you in a pinch. So he says. Mr. Falco, whom I did not invite to sit at this table tonight, is a hungry press agent, and fully up to all the tricks of his very slimy trade. Match me, Sidney. Not right this minute, JJ. Well, you can see there the, uh, they established the relationship between the two of them right away. Uh, you know, he sits behind him, slightly behind him. Uh, certainly, you know, Hunsaker is the more dominating personality, or he's trying to be. And the whole, the whole bit about match me, Sidney, which has been referenced many times, along with several other moments of this film, in many examples of pop culture, is just one of the enduring parts of this film. You know, the story is, this is a story where almost every character is virtually irredeemable. Uh, Hunsaker's power mad, Falco's an opportunist, the police lieutenant is corrupt, uh, and, and so on. And if you recall the scenes with the cigarette girl, uh, in the club and then later in Sidney's apartment, we learned that, you know, Sidney Falco is just as unethical as anyone else. And those are perfect examples of that. Uh, we see it in that scene there with the senator. Uh, and, and we didn't see, but what happens right after that, uh, is the implication that, uh, you know, the senator is, is having an affair and is in the, in the, uh, on the take. Um, nothing's sugar coated. Uh, you know, which for 1957, uh, was not, um, uh, not completely unheard of, but certainly not, uh, the common, uh, themes you would see in films from the time. Uh, they talk in a way that New Yorkers wish they talked, but they don't. Um, the exception, the one exception in terms of the characters is Susan, uh, Hansika sister Susan played by the actor Susan Harrison, who is the real, uh, I guess a victim or innocent or whatever you want to call her. Um, and her, her wardrobe is the visual cue for her distress. It gets shabbier as the film goes on. We see her, she's wearing a fur coat. Uh, and then we see her later on, she's only wearing a bathrobe and then she's wearing a very simple. Uh, it's, it's a, it's kind of an indicator of, of her state of mind, um, leading up to the end. Uh, but she is the only one who can really hurt Hansika and the expression on his face, uh, in their final scene together is almost cartoonish, uh, with the way that Bert Lancaster uses his eyes, uh, and, and, uh, the blank look on his face, uh, tells you virtually everything. Um, Susan Harrison incidentally only appeared in one other film in her career. So, uh, this is quite an achievement for her, for such a short resume, the fact that she, uh, had two career films, uh, I think is something to be said. Uh, the police lieutenant who is, uh, the muscle that Hansika employs, uh, who's on the take is, is based on a real police officer who's also said to have been the inspiration for Jean Hackman's character in the French connection. Um, so he, he was adapted into two, uh, classic films. Uh, in a somewhat of a weird parallel to real life, which was not really so unintentional. Um, Walter Winshaw, who's Hansika is based on, was so obsessive with his daughter's love life that he had her institutionalized for being emotionally unstable. And with the help of J. Edgar Hoover and the FBI, forced her lover to leave the country. Um, which just goes to show you the power that Winshaw had. And of course, everyone was terrified of him, especially during the McCarthy period. Uh, he was perhaps the most powerful journalist in the country. Uh, and that the filmmakers took many, many steps to try and keep him from ruining the film. Uh, the, the jazz band, uh, jazz band is portrayed by the Chico Hamilton quintet. Uh, and they were chosen partly because they represented the styles that were popular at the time. Um, but also because they were clean. Uh, the producers were constantly screening them for drugs, uh, to avoid giving Winshaw any ammunition that he could potentially use, uh, against the film. The film's score, speaking of jazz, uh, jazz was obviously very important to it, but the score was composed by Elmer Bernstein, who, uh, you've probably seen his name on many, many films over the years. He had a long storied career in Hollywood. Uh, but he also combined orchestral music with modern jazz, including the songs that are performed in the club scenes, uh, to try and provide a backdrop. And it gives a suggestion, the idea of using jazz was to, uh, suggest cynicism in what is essentially, uh, a riff on the show biz drama genre and both styles of music intersect around a common theme, which is a song called Goodbye Baby. If you listen to the soundtrack, you'll hear, uh, there, there are 14 orchestra, uh, cues and seven jazz cues and the orchestra cues sort of sandwich the jazz. You have, um, seven examples of that happening throughout the film and it's very interesting how they, they use that song to transition back and forth between the motifs. Uh, upon release, you know, the film was a box office failure. Um, they attributed that mainly to, uh, Tony Curtis's fans expecting him to play one of his typical nice guy roles instead of a scheming opportunist and Bert Lancaster fans were not expecting him to play such a vile character. Uh, Alexander McKendrick in his biography, uh, recalls seeing audience members during the previews curling up and recoiling in their seats, uh, in disgust. Um, seems a little over dramatic, but, uh, the failure of the film caused a rift between Lancaster and his producing partners, but in retrospect, um, Lancaster spoke very highly of the film, also believed that Tony Curtis should have been nominated for an Oscar. Uh, Tony Curtis consistently, uh, listed this one as the favorite, um, uh, of all the films that he had done. Uh, so it actually had some legs much beyond its, um, its public reception. Um, Walter Winchell, of course, was thrilled that the film bombed. Uh, and at one preview showing, uh, it's reported that an audience member and filling out the, the comment cards that they used for test screenings commented that the filmmaker shouldn't change anything. Just, just burn all the prints. Uh, so there was quite a, uh, passionate reaction, uh, to the film when it was previewed and then it was released. The critical reception was much more favorable. Uh, it was included on many top 10 lists for 1957. Uh, its reputation since then has only grown and it's considered one of the best of all New York movies because it captures that atmosphere of Times Square and big city journalism that's representative of the period. Many modern day critics cite the dialogue and often do so in a manner because they're bemoaning the lost art of the spoken word in films, uh, in the age of special effect blockbusters, which, uh, I can't say I blame them. Uh, and just to, um, we have one more clip we're going to play that just, uh, has a little bit of an example of that type of dialogue. Where's Chris? I got that boy coming over here today. If I can trust my eyes and I think I can, he knows all about your dirty work. Can't hurt? Can't hurt. I had to get that boy's job back. Look, JJ, we can tie this off in a one-need bundle, address it to the dumps, to oblivion. We're doing great, but please do it my way. I've cased this kid. I know his ins and outs. He's full of juice and vinegar just waiting for a big shot like you to put on the squeeze. You got the boy's job back. Okay. But he's not going to accept your favor. The manager, yeah, but not that boy. What does this boy got that Susie likes? Integrity. Acute. Like indigestion. What does this mean? Integrity. A pocket full of firecrackers. Waiting for a match. You know, it's a new wrinkle. To tell you the truth, I never thought I'd make a killing on some guy's integrity. I'd hate to take a bite out of you. You're a cookie full of arsenic. Yeah, the cookie full of arsenic. That line has, like the match-me line has been referenced many, many, many times since it debuted in this film. And for those of you who are television fans from some time ago, the young man who plays the boyfriend, Martin Milner, you might remember him from Route 66. Or he was also one of the police officers on item 12 for about seven years in the late 60s and early 70s. Those two TV shows are what he's really best known for. So of course, after the production of this film, Bert Lancaster continued with really an exceptional career through the 50s and 60s. In addition to the films produced by Hacktail Lancaster, he appeared in Elmer Gantry, which won him an Academy Award. A judgment at Nuremberg where he played the Nazi judge seven days in May, the train, Atlantic City. And after he had a relatively lean period in the 70s, he kind of capped his career in the 1980s with the film's local hero, where he plays the corporate oil executive and his final film appearance, which was in Field of Dreams, which is one of my favorite movies. Certainly, he gives a very, very memorable performance in that film. After Sweet Smell of Success, Alexander McKendrick went back to England to make The Devil's Disciple for Hacktail Lancaster, which is the one that they were trying to get off the ground before Sweet Smell of Success. They finally got things straightened out, but he was fired a month into the production. And then he was hired to direct the Guns of Navarone, but he was fired from that film, allegedly for being too much of a perfectionist and because he was spending too much time scouting locations on the Mediterranean coast. I can blame him. He made a handful of minor films in the 60s, but by the end of the decade, he returned to the United States and he became dean of the film school at the California Institute of the Arts. And he actually, among his students are many, many prominent directors the one I think probably most notable still working today is James Mangold, who's done a number of really great films. He was Alexander McKendrick's student back at that time. Given the lack of success that the film had upon its release, it's generated really an amazing, significant legacy. In 2002, it was adapted into a musical with songs by Marvin Hamlisch. It didn't run too long, but that was part of it, part of the influence it had. J.J. Hunsaker is routinely cited as one of the great movie villains of all time. The Academy Award director Barry Levinson who did Rain Man and Diner and many other really great movies has used dialogue and images lifted directly out of the film in several of his own movies. If you pay attention and think in Rain Man it's playing on the television in the background and there's a character in Diner whose all of that character's dialogue is literally lifted straight from Sweet Smell of Success. There's a great episode of Law and Order which is a tribute to the film with a plot about a gossip columnist and other characters that are drawn from the film. Mo Raca, the comedian Mo Raca plays the Hunsaker character right down the glasses uses several lines of dialogue from the film and elements from it have also been used in Breaking Bad. For those of you who are fans of that series Vince Gilligan has cited Sweet Smell of Success as a major influence on him as well. Both Roger Ebert and Martin Scorsese have included the film in their all time list of greatest films and in 1993 it was announced that it would be preserved by the Library of Congress for its cultural and aesthetic significance. So from kind of inauspicious beginnings to really a benchmark of film noir where all of the elements sort of come together and become greater than the sum of their parts. So I hope for those of you who were able to watch it you enjoyed it and if you haven't watched it you should definitely do so because I think you will enjoy it. It's not very long, it goes by really quick the dialogue is really snappy and it's a great way to spend an evening or an afternoon. So I do see that actually we had one question from Kirsten which is do you have any insight as to what comes across as JJ's unusual obsession with his sister? Yeah it's kind of creepy right? I think it's really more about the basing on the actual story of Walter Winchell and what he did with his daughter they were sort of trying to reference it taking it to direct a reference but yeah it's they sort of suggest and I've never read the original novelette but I have read Ernest Lehmann's book and so they sort of suggest that part of Hunsaker's psychosis is that he's a closeted bisexual with feelings for his sister that you know for the time they could never say that obviously but I think they took advantage of the fact they had this story about Walter Winchell institutionalizing his daughter and to try to draw the parallel kind of in the way that Citizen Kane tries to draw parallels with William Randolph Hearst without actually saying it's William Randolph Hearst it's kind of the same thing but the scene if you saw the film the scene towards the end when he goes to her apartment and I will say spoiler alert for anybody who has not yet watched it but she attempts suicide because she's been driven to it by him and if you notice like when she goes from that moment and then Sydney arrives Hunsaker catches Sydney in her apartment and thinks that he's doing something shady with her which sets him off and he smacks him around a little bit if you remember when she after Sydney leaves and for all we know Sydney's gone out to have his legs broken because Hunsaker has called in his buddy the cop to take care of him she gets dressed and like nothing has happened she hasn't tried to throw herself out the window five minutes before that Connelly just says I'm going back to Steve which is her boyfriend I would rather commit suicide than live with you and that's the moment where he finally gets his comeuppance next question Joyce is saying do you know what buildings were used for the office or the apartment they both seem like office buildings in the middle of Times Square actually yes the building that they shot they used for the apartment was the Brill building which as you all know is sort of the what they used to call Tin Pan Alley it's down in in Manhattan and it's where all the great songwriters had offices the scene of the apartments all the apartment scenes were filmed in the Brill building which is not really I don't believe it's a residential building but that's where they shot it there are a couple you can catch it there's a couple of exterior shots if you're familiar with the distinctive front of the Brill building you can catch it in passing in a couple of shots but that's the great thing I should also mention I know we talked about it briefly that's the great thing about it being those quote unquote New York movies whereas when you look at films that are shot in Los Angeles even if they're in black and white and the sun is shining and everybody's glowing and lit and this is the seedy underbelly of certainly of New York maybe of America you feel kind of you feel like you have to kind of wash the dirt off sometimes a little bit after you watch this film and I often think about the cigarette girl and the young girl who's with the senator in the club you really find yourself feeling for these characters generally in empathy even though they're just character parts Huntsaker is so despicable to everybody and the fact that you know Sydney Falco at one point when Huntsaker says well you'll take over my column when she and I go away and that's what entices him to stay in the plan to frame the boyfriend so she'll dump him you realize that this is probably closer to the truth than the Hollywood endings that were so popular which is not necessarily anything wrong with them but this film definitely was not going to have them and anything if you know anything about Clifford Odette's he was certainly a left wing writer back in the 30s and his sensibilities and Ernest Layman and his sensibilities there was never going to be any sort of happy Hollywood ending to the film in the classic sense that we know it so thank you for that, that was a great question if there are no other questions or comments I want to thank everybody for coming I hope you'll join us we're going to be back in two weeks we're going to be doing The Candidate with Robert Redford and Peter Boyle and Melvin Douglas sort of a little bit of an election preview from 1972 which will be a lot of fun for those of you who may be interested tomorrow night we are hosting a talk by Dr. Mark Leonard about dealing with grief and loss during the pandemic and so if any of you hopefully none of you have had to deal with issues like that but if you are and you're looking for some resources or some guidance Dr. Leonard is going to talk about that tomorrow night at 7 o'clock you can register on our website Thursday night we are hosting Trivia night it's Game of Thrones night so if all you Game of Thrones fans might be interested in participating with that you can sign up for that on our website and then coming up in the next few weeks we're going to try to continue our virtual programming so visit our website sign up for our newsletters you'll get notified if you become a member you'll get advance notice for certain events for urban tastings in the works and more fun stuff that we can do as much as we can so thanks again everybody for tuning in and hope you have a great night