WARNING! The double-features you are about to see are real! No titles were Photoshopped during the making of this post!
It began as a hunt to find proof of what has to be the craziest double-bill ever conceived. The date and year escape me, but at one point in its history the programming wunderkind who booked Chicago’s Devon Theatre married two films so incongruous, so unlikely, that I’m still obsessing about it decades later. One day I’ll find the ad that bears witness to the coupling of Marcel Ophüls’s four hour Holocaust documentary The Sorrow and the Pity and Carl Reiner’s scabrous incest romp Where’s Poppa? (If memory serves, TS&TP was also paired opposite A Thousand Clowns. Nonconformity and Nazis. Incongruity, anyone?)
Until evidence of that holy grail of matinee-madness appears to me in a future search, we’ll just have to make do with these 30 or so nightmare pairings let loose on the paying public.
WARNING! The double-features you are about to see are real! No titles were Photoshopped during the making of this post!
It began as a hunt to find proof of what has to be the craziest double-bill ever conceived. The date and year escape me, but at one point in its history the programming wunderkind who booked Chicago’s Devon Theatre married two films so incongruous, so unlikely, that I’m still obsessing about it decades later. One day I’ll find the ad that bears witness to the coupling of Marcel Ophüls’s four hour Holocaust documentary The Sorrow and the Pity and Carl Reiner’s scabrous incest romp Where’s Poppa? (If memory serves, TS&TP was also paired opposite A Thousand Clowns. Nonconformity and Nazis. Incongruity, anyone?)
Until evidence of that holy grail of matinee-madness appears to me in a future search, we’ll just have to make do with these 30 or so nightmare pairings let loose on the paying public.
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