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Speaker 1: Hey, welcome to Weird House Cinema rewind. This is Rob

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Speaker 1: Lamb and hey, you might be wondering what is this

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Speaker 1: doing on a Monday. You guys usually don't rerun Weird

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Speaker 1: House Cinema episodes all that often. Well, look, this is

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Speaker 1: what's happening. We're doing a switch up here with our

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Speaker 1: Monday lineup. For the past few years we've been featuring

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Speaker 1: listener mails every Monday, but on an experimental basis, we're

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Speaker 1: going to try going back to what we used to do,

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Speaker 1: which was to let the mail bag accumulate a bit

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Speaker 1: more and then do a full length listener mail episode

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Speaker 1: like every month or so. So for the time being,

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Speaker 1: as an experiment on Mondays, we're going to feature vaults

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Speaker 1: and probably going to lean more heavily on Weird House

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Speaker 1: Cinema rewinds. The most important point we want to make here, though,

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Speaker 1: is that listener mail is not going away. We're still

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Speaker 1: going to be reading it on the air, just on

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Speaker 1: a less frequent basis, so keep writing in. In fact,

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Speaker 1: this is more to the point. Give us lots of

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Speaker 1: listener mails to choose from, so you can always reach

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Speaker 1: us at contact at stuff to Blow your Mind dot com.

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Speaker 1: All right, now back to the business at hand, though, Yes,

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Speaker 1: we're about to dive into a past episode of Weird

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Speaker 1: House Cinema. This is Night of the were Wolf, a

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Speaker 1: nineteen eighty one Paul Nashy movie. And if you've been

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Speaker 1: listening to me on the show for a while, you

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Speaker 1: know I've become something of a Paul Nashy fan. I

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Speaker 1: really enjoyed this one. And if you haven't listened to it,

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Speaker 1: or if you haven't listened to it in a while,

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Speaker 1: I hope you enjoyed this episode as well. It originally

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Speaker 1: published on July fourteenth, twenty twenty three.

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Speaker 2: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

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Speaker 1: Hey you, welcome to Weird House Cinema.

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Speaker 3: This is Rob Lamb and this is Joe McCormick. In

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Speaker 3: today's movie on Weird House Cinema is the nineteen eighty

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Speaker 3: one or maybe nineteen eighty. I saw some dispute about

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Speaker 3: that Spanish horror film Night of the Werewolf, also known

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Speaker 3: as Return of the Wolfman, also known as Maybe some

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Speaker 3: other titles too, directed by Paul Nashi, written by Paul Nashi,

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Speaker 3: starring Paul Nashi, The creative trifecta previously accomplished by such

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Speaker 3: luminaries as Orson Wells and Edward D. Wood Junior. Now,

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Speaker 3: if you have been listening to Weird House for a while,

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Speaker 3: you will probably recognize that name. You know that we

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Speaker 3: have covered several Paul nashi movies in the past, and

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Speaker 3: the one we're talking about today is part of a saga,

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Speaker 3: a Paul Nashy saga of a recurring character. It is

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Speaker 3: one of his many, many Valdemar movies, and this time

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Speaker 3: the character Valdemar returns from beyond the grave to engage

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Speaker 3: wolf mode overdrive adjacent to a necro vivified Countess Bathory,

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Speaker 3: and by the end of the movie he will either

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Speaker 3: do evil or stop or maybe both, but probably not neither.

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Speaker 1: That's right, That's right. I mean, this is a you

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Speaker 1: know what you're getting into with this film, and you

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Speaker 1: know there are a lot a lot of the beats

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Speaker 1: are the same compared to other films that Paul Nashey

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Speaker 1: did or films unrelated, mostly to Paul Maashey. We've discussed

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Speaker 1: already a couple of fun facts. You mentioned that. Yeah,

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Speaker 1: he's the he's the director, he's the writer. He's also

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Speaker 1: the star. Though I will say he only plays one

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Speaker 1: role in this film. Other films he plays multiple roles

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Speaker 1: on top of that. But the Blu Rays set that

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Speaker 1: I have that this came out of has some great

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Speaker 1: notes in it by Nashi scholar Myriklepinsky, and he points

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Speaker 1: out that since Nashi was directing as well as acting

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Speaker 1: and was wearing heavy were wolf makeup in some of

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Speaker 1: the scenes, there were times where he was directing the

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Speaker 1: movie in full were wolf makeup, which must have been

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Speaker 1: a sight.

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Speaker 3: I would love to see set photos of that, like

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Speaker 3: is he in the chair with the bullhorn in the

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Speaker 3: wolf man makeup?

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Speaker 1: One would hope.

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Speaker 3: Now we should clarify. I think this comes up whenever

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Speaker 3: we talk about a were wolf movie. What were wolf

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Speaker 3: morph are we dealing with in this film? Your two

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Speaker 3: basic categories are the more canine, long snout werewolf that

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Speaker 3: often is paired with a more quadrupedal posture or at

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Speaker 3: least a more hunched posture. Or you've on the other hand,

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Speaker 3: you've got the more humanoid shaped wolf man, sort of

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Speaker 3: the Lawn Cheney junior version that has a human shaped

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Speaker 3: head just covered in hair with fangs. In this movie,

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Speaker 3: we're dealing with the latter no long snouts to be seen.

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Speaker 1: Yeah, and it's a look that I think a lot

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Speaker 1: of films got away from for a while, especially in

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Speaker 1: the wake of an American Wolf in London. You know,

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Speaker 1: everything got snouty and there's this feeling that, oh, the

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Speaker 1: classic wolf man look was just done and we shouldn't

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Speaker 1: go back to that. But I don't know that. I

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Speaker 1: think we're coming back around to realizing that a classic

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Speaker 1: wolf man, if done well, looks amazing. One example of

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Speaker 1: this recently is the excellent Werewolf by Night special from Marvel.

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Speaker 1: This this is tremendous. It has a werewolf in it,

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Speaker 1: and it is a classic wolf man look and it's

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Speaker 1: done really well.

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Speaker 3: Haven't seen it, so I can't comment.

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Speaker 1: It's worth checking out, Yeah, but put it on your

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Speaker 1: list for Halloween. It's like, it's less than an hour.

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Speaker 1: It's fine.

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Speaker 3: But Okay, So, Rob, I know you are much deeper

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Speaker 3: in the Paul Nashy canon and the Valdemar verse than

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Speaker 3: I am. So can you explain where and how this

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Speaker 3: movie fits into the overall Valdemar saga.

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Speaker 1: Okay, so this is with some caveats. The ninth Cinematic

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Speaker 1: Adventure of Colt Valdemir Dninsky. For our part, we previously

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Speaker 1: watched the third movie in the saga, nineteen seventies Assignment Terror,

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Speaker 1: and we've also watched the unrelated Nashy film Horror Rises

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Speaker 1: from the Tomb from seventy two. So Dninsky the character

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Speaker 1: first appears in nineteen sixty eight's The Mark of the Wolfman,

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Speaker 1: which Nashi wrote, and originally he was just going to

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Speaker 1: be the writer on that one, and they were going

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Speaker 1: to get Lon Cheney Junior to play the part, but

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Speaker 1: Lon Chaney Junior was too sick to travel at that

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Speaker 1: point in his life, so Nashi jumped in and acted

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Speaker 1: as well. Dninsky's final appearance in a Nashy directed picture

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Speaker 1: was nineteen eighty three's The Beast and the Magic Sword,

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Speaker 1: the tenth Daniski film, though two more films of other

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Speaker 1: lesser directors would also utilize the character with Nashi in

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Speaker 1: the role, and nash the only Nashi only wrote one

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Speaker 1: of those, still, Knight of the Werewolf, which we're talking

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Speaker 1: about here. Eighty or eighty one was the first Doninski

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Speaker 1: film in like five years now. An interesting caveat here

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Speaker 1: to putting a fine number on the Voldemart Dninski Films

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Speaker 1: is that nineteen sixty eight Knights of the wolf Man

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Speaker 1: is often referred to as the second Dninski film, but

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Speaker 1: it either wasn't actually made or finished, or might not

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Speaker 1: have ever existed to begin with. If it did exist,

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Speaker 1: it's considered a lost film because even Nashi did not

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Speaker 1: see it. Nash alone seemed to insist it that he

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Speaker 1: had actually filmed scenes for this in Paris. I think

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Speaker 1: the story was that the director died in a car

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Speaker 1: crash and the film was never picked up from the

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Speaker 1: processing lab and then was eventually probably destroyed. But no

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Speaker 1: one has ever seen it, and that's assuming it was

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Speaker 1: finished at all, so it's uncertain what's going on there.

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Speaker 1: It's also been theorized that perhaps Nash she kind of

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Speaker 1: embellished it early in his career when he didn't have

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Speaker 1: that many credentials. So I don't know. I don't know

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Speaker 1: where the truth lies on that.

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Speaker 3: Oh, Like I have a girlfriend, but she lives in Canada.

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Speaker 3: Like I already made a movie but it was never released.

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Speaker 1: Yeah, I made a wear We'll film a second wearer

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Speaker 1: of film, but it was in Paris, And I don't know.

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Speaker 1: They haven't done anything with the footage, which you know,

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Speaker 1: I guess was the safe there was no IMDb back

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Speaker 1: in those days.

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Speaker 3: Well, interesting that he would go on to make a

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Speaker 3: movie of the same name later on that's well, almost

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Speaker 3: exactly the same name, but with singular instead of plural

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Speaker 3: Night versus Knights.

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Speaker 1: Yeah. Now, I haven't seen all of the Dninsky films.

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Speaker 1: I've only seen really a handful of these, but it's

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Speaker 1: important to note that all of them are essentially stand alone.

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Speaker 1: You don't have to watch these in order. Each one

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Speaker 1: seems to reinvent Dninsky's origin story to fit the plot

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Speaker 1: as needed. So sometimes his origin is very modern. Other

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Speaker 1: times his origin is, in the case of this film,

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Speaker 1: is situated in the past. For instance, the previous film

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Speaker 1: to this one nineteen seventy five is The were Wolf

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Speaker 1: and the Yetti, which I've seen. It's a pretty fun one,

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Speaker 1: but Dninsky transforms into a were wolf in that one

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Speaker 1: because a pair of Tibetan were wolf women capture him

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Speaker 1: while he's on an excursion in Tibet.

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Speaker 3: So you're saying they're all stand alone, and in many

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Speaker 3: ways they sort of recapitulate some of the same plot

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Speaker 3: elements and and reimagine the origin each time. So it

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Speaker 3: might be more apt to compare Valdemar Doninsky to a

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Speaker 3: character like Dracula that is in many movies but gets

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Speaker 3: but most of those movies stand alone, as opposed to

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Speaker 3: thinking of it as a continuity or a cannon.

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Speaker 1: Absolutely Dracula of Frankenstein. All those characters were very much

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Speaker 1: characters that inspired Paul Nashy, and therefore that they're part

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Speaker 1: of the DNA of this character that he created.

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Speaker 3: So the two Dninsky movies we've seen, it's interesting because

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Speaker 3: the Dninsky elements in them have a lot in common,

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Speaker 3: but the movies overall are very different. Assignment Terror was

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Speaker 3: a I call it like a sort of a gonzo

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Speaker 3: mashup of the classic universal monsters. The premise was that

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Speaker 3: aliens want to conquer Earth, and they do so by

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Speaker 3: rounding up Frankenstein, Dracula, Doninsky is a wolf man I

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Speaker 3: think a mummy too, and some other critters, and they're like,

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Speaker 3: we're going to use these monsters to attack earthlings and

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Speaker 3: get them. I don't know, I guess to surrender to us.

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Speaker 3: I remember the vibe of that movie was a very wild,

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Speaker 3: chaotic and science fiction, though the Dninsky element in particular

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Speaker 3: felt almost a little out of place. It was more

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Speaker 3: of this kind of like tragic gothic horror love story

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Speaker 3: that was just one little wedge of that whole pie.

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Speaker 3: You could tell me if you disagree with my characterization

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Speaker 3: in a second, but I'm gonna say this movie is

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Speaker 3: very different than Assignment Terror in that it feels more

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Speaker 3: like they were trying to go for sort of like

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Speaker 3: what some of the Hammer horror movies of the seventies were,

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Speaker 3: like kind of a sexy escapade in the Carpathian Mountains.

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Speaker 1: Yeah, I know, I agree with that. Assignment Terror also

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Speaker 1: came out at a time where it's like Spanish cinema

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Speaker 1: wasn't really ready to fully embrace the horror. But then

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Speaker 1: horror is embraced throughout the nineteen seventies, and at this

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Speaker 1: point Paul nashe's setting out to make a just a

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Speaker 1: gothic horror film. You don't have to have a spy

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Speaker 1: story in there.

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Speaker 3: Oh yeah, there were spies too, weren't there.

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Speaker 1: There was a boring spy story and Assignment Terror that yeah,

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Speaker 1: amid all the monsters, you only remember the monsters. Those

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Speaker 1: were the best scenes.

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Speaker 3: I remember it being funny that the that the Frankenstein

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Speaker 3: monster was like the really bad monster. Like, of all

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Speaker 3: you could sort of rank the monsters in terms of

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Speaker 3: morality in that movie, and frank was one of the worst.

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Speaker 3: He was like the sort of the enforcer droid who

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Speaker 3: was doing all the hits for the bad aliens, which

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Speaker 3: seemed like a strange thing because the Frankenstein character from

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Speaker 3: the novel is so conflicted and tragic.

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Speaker 1: Yeah, but you had. You ultimately had a good tear

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Speaker 1: down battle between the were wolf and the Frankenstein monsters,

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Speaker 1: so it is worth it, all right. Well, the elevator

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Speaker 1: pitch on this one is pretty simple. It's werewolf versus vampire.

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Speaker 1: More specifically, it's Dninsky versus Bathory.

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Speaker 3: So it's Elizabeth Bathory as a vampire.

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Speaker 1: Yes, let's hear probably not all of the trailer audio,

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Speaker 1: but let's hear just a little bit of that trailer audio.

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Speaker 1: Estimata young pretend if your accomdition a bad to do

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Speaker 1: you a us.

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Speaker 3: All right?

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Speaker 1: Well, if you're wondering where you can watch this film,

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Speaker 1: you can stream it a few different ways. Sometimes it's

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Speaker 1: available under the title The Craving. That was one of

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Speaker 1: its American release titles. Though the best streaming option is

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Speaker 1: probably shout Factory TV, since Shout Factory also put this

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Speaker 1: film out on a glorious blue ray set part of

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Speaker 1: their excellent Paul Nashi collection. Part one and two are out.

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Speaker 1: I own both of them. I hope we're getting a

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Speaker 1: part three as well. There's plenty more stuff for them

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Speaker 1: to throw on a disk. This particular set Part one

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Speaker 1: collects Knight of the Werewolf, Vengeance of the Zombies, Horror

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Speaker 1: Rises from the Tomb, which is another favorite of mine,

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Speaker 1: Blue Eyes of the Broken Doll, and Human Beasts. All right, well,

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Speaker 1: let's get into the cast here. Starting at the top, obviously,

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Speaker 1: we have Paul Nashi, who's playing Valdemar Doninski in this.

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Speaker 1: He also wrote it, he directed it. He lived nineteen

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Speaker 1: thirty four through two thousand and nine. The Spanish horror

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Speaker 1: icon The Lawncha Jr. Of Madrid. As a young man,

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Speaker 1: he grew upon a cinematic diet of universal monster pictures,

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Speaker 1: and after a brief foray into architecture school, he got

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Speaker 1: into weightlifting and then into acting, writing, and eventually directing.

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Speaker 1: He ranked up more than one hundred acting credits, fifty

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Speaker 1: two writing credits, twenty three directing credits. Not all of

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Speaker 1: his work is horror. He appeared in and worked on crime, comedy,

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Speaker 1: war western movies as well, but it's his horror films

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Speaker 1: that continue to resonate and have earned him recognition internationally.

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Speaker 1: There's a lot to dissect in a Nashi film and

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Speaker 1: in a Nashi performance. You know, there are these themes

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Speaker 1: of tragic gothic melodrama, often laid on really thick, and

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Speaker 1: this courses through his films. But at least in my opinion,

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Speaker 1: amid the budget and time constraints and the elements of

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Speaker 1: exploitation cinema, they're all over these pictures. I feel like

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Speaker 1: Paul Nashey's passion shines through, especially in his monsters and

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Speaker 1: his outsider characters, which is one of the prime reasons

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Speaker 1: I think his films continue to resonate. And it wasn't

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Speaker 1: just you know, fantastic monstrous and supernatural outsider characters that

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Speaker 1: interested in interest Nashi as well. I was reading about this.

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Speaker 1: I didn't know about this until a research for this picture,

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Speaker 1: but apparently after meeting a trans woman at a Madrid

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Speaker 1: gay club, he was inspired to write and then also

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Speaker 1: acted in a supporting role in a film that would

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Speaker 1: Become nineteen seventy seven's Al Transsexual, which I've not seen,

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Speaker 1: but it's apparently a really compassionate and shockingly non exploitive picture.

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Speaker 1: It's a cabaret romance drama with a lot of music

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Speaker 1: in it, intercut with documentary testimonials from a Spanish trans

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Speaker 1: woman about transidentity. I've read that the story itself isn't

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Speaker 1: the best, but the film serves as kind of a

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Speaker 1: time capsule for the Madrid LGBTQ club scene of Madrid

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Speaker 1: at the time. Oh interesting, But in general, like Nashi

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Speaker 1: could really bust out these scripts. I was reading that

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Speaker 1: like Harror Rises from the Tomb, he wrote in like

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Speaker 1: a day and a half, like that was his deadline

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Speaker 1: to get a script in and he's like, thank goodness

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Speaker 1: for amphetamines, because I got it done. But like in

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Speaker 1: nineteen seventy two alone, he wrote and starred in seven movies,

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Speaker 1: and then he eventually started directing as well in seventy

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Speaker 1: six with the film Inquisition.

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Speaker 3: His seventy two sounds kind of like Roger Corman's nineteen

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Speaker 3: fifty seven or something.

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Speaker 1: Yeah, prime year.

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Speaker 3: Well, as an actor, there is always something I do

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Speaker 3: enjoy about Paul Nashy, But in this movie in particular,

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Speaker 3: I noticed he's kind of he's a one track lover

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Speaker 3: down a two way lane. He brings a lot of

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Speaker 3: passion of the wolf. Yes, But also I did want

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Speaker 3: to note that Rachel watching part of the movie over

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Speaker 3: my shoulder here. It was during one of the brooding

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Speaker 3: human mode scenes. She was like, is this a Matt

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Speaker 3: Berry character? And I had to say, ooh, yes, a

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Speaker 3: little bit, a little bit.

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Speaker 1: Yeah, Yeah, it's pretty much the case. I could see

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Speaker 1: this kind of character fitting in really well on Dark Place.

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Speaker 1: There's a certain over seriousness to everything.

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Speaker 3: But I find it interesting that it seems like he's

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Speaker 3: doing all these different things, but he's always trying to

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Speaker 3: write a tragic, supernatural love story and then in the

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Speaker 3: end he always gets like a stake or a dagger

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Speaker 3: to the heart and that's the end of it, but

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Speaker 3: in a kind of like bittersweet resolution of the curse.

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Speaker 1: Yeah. There's actually a wonderful quote from Paul Nashi in

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Speaker 1: the booklet that comes with the Paul Nashi Collection, Volume one.

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Speaker 1: He said of this film quote, it contains all the

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Speaker 1: coordinates of my own life fitting together like the pieces

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Speaker 1: of a jigsaw. Puzzle, the claustrophobic castle, the gothic tombs,

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Speaker 1: the ill fated love affair, the menace of the undead,

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Speaker 1: the ostracism of someone who is despised for being different,

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Speaker 1: and the all pervading shadow of death. All these elements

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Speaker 1: go to make up my personality and my work. So

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Speaker 1: I think that's the thing. It's like these like He's However,

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Speaker 1: it comes together in Paul Nashy's head and then comes

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Speaker 1: out in his work like it's personal for him. You know,

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Speaker 1: they're cranking these pictures out, you know it's about you know,

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Speaker 1: their limited budget, limited time, but for him it's still

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Speaker 1: personal when it comes to characters like Voldemar Doninsky.

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Speaker 3: Yeah, So to maybe revise a bit the comparison to

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Speaker 3: Hammer horror, like that he's sort of trying to make

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Speaker 3: something along the lines of those like lusty seventies Hammer films.

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Speaker 3: It's kind of in that mode, but it is at

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Speaker 3: the same time a little bit less professional, Like it's

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Speaker 3: a little bit sloppier, but it's also far more like

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Speaker 3: of a passion project. You can tell it's less of

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Speaker 3: a less of a business product and more of like

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Speaker 3: this guy is pouring his heart and soul in.

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Speaker 1: Yeah, and this was also worth It's worth pointing out

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Speaker 1: this was at a time where the horror world in

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Speaker 1: general was kind of moving on into Lasher territory, like

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Speaker 1: Gothic horror wasn't really like at the forefront anymore. All Right,

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Speaker 1: So that's Paul Nashey, that's our werewolf. But we also

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Speaker 1: need our vampire. We need our Countess Elizabeth Bathory. And

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Speaker 1: she is played in this film by Julius Sally. Now

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Speaker 1: her dates run now, I couldn't find any birthdate for her.

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Speaker 1: I think she's still around. She's retired at this point.

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Speaker 1: But she is a Spanish ballerina turned actor and producer

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Speaker 1: that was active from nineteen seventy two through nineteen eighty five.

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Speaker 1: She got her acting start in the nineteen seventy three

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Speaker 1: war movie La Gorilla starring Francisco Rebaal. He was in

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Speaker 1: that three D movie we watched. He played.

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Speaker 3: Treasure of the Four Crowns.

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Speaker 1: Is that for this The Four Crowns? Yes? Yes, yeah,

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Speaker 1: he was the guy who shows up painted blue. He's

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Speaker 1: the strong man with the heart problems.

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Speaker 3: Oh yeah, our tragic hulk. Yes.

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Speaker 1: She only had a big part in that, and she

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Speaker 1: was a lit credited in that is Lepoca, which apparently

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Speaker 1: loosely translates to the white Girl. She's also credited as

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Speaker 1: Lopoka on her next small role in Armando dios Ario's

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Speaker 1: Demon witch Child from seventy five, and she worked with

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Speaker 1: that director again on his other film released in seventy five,

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Speaker 1: Night of the Seagulls. That's his fourth and final Blind

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Speaker 1: Dead movie. We watched one of the blind Dead movies

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Speaker 1: previously on Weird House. But then in seventy six, she

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Speaker 1: had a supporting role in Leon Kolimowski's The People Who

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Speaker 1: Owned the Dark, which featured Paul Nashy in a very

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Speaker 1: small role. I believe they met at a cast party

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Speaker 1: for this film, and afterwards the two would work together

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Speaker 1: on thirteen films, with Sally serving as producer on six

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Speaker 1: of those. Apparently, while traveling in Japan for ballet, she

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Speaker 1: made connections with Japanese film producers and these connections would

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Speaker 1: prove vital for various productions that they would work on together.

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Speaker 1: So if Paul Nashy is the dark Count of Spanish horror,

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Speaker 1: then I think Julia Sally may well be considered the

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Speaker 1: dark countess. Their films together include seventy sevens So multiple

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Speaker 1: films in seventy seven, Inquisition Death of a Delinquent and

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Speaker 1: Commando Chiki Death of a President in seventy eight, The

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Speaker 1: Frenchman's Garden seventy nine, Madrid Al Desnudo nineteen eighties, The

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Speaker 1: Beast Carnival slash Human Beasts, as well as a movie

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Speaker 1: called The Cantabrians nineteen eighty one s Night of the Werewolf.

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Speaker 1: Of course, eighty three is The Beast and the Magic Sore.

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Speaker 1: That's a Dninski film set in Japan with Japanese actors.

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Speaker 1: Nineteen eighty four is the Last Kamikazi, nineteen eighty four's

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Speaker 1: Miamiko El Vaga Bundo This is a Paul nashi written

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Speaker 1: and directed family movie, and then nineteen eighty five's Operation Mantis,

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Speaker 1: apparently a disastrous film that nobody liked and did not

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Speaker 1: make any money. But it's a really wacky spy comedy

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Speaker 1: that has been compared to like, you know, wacky on

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Speaker 1: like The Naked Gun kind of level not work. And

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Speaker 1: this was their final collaboration in her final film project.

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Speaker 3: I did not know Paul Nashy had made a family film.

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Speaker 3: I'm kind of curious to see what that is, Like.

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Speaker 1: I know, like I say, we know him best certainly

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Speaker 1: outside of outside of his time period and outside of

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Speaker 1: Spain for these horror films, but he made and or

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Speaker 1: was involved in various genres.

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Speaker 3: Like it's hard for me to imagine him making a

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Speaker 3: film that does not end with the silver dagger in

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Speaker 3: the heart.

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Speaker 1: Right or some sort of blood coming out of his

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Speaker 1: mouth at some point.

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Speaker 3: Yeah.

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Speaker 1: But as for Julius Sally, I love her in this Countess.

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Speaker 1: Bathory is a frequent subject in horror movies, especially more

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Speaker 1: sort of erotically aligned horror projects, because it's at base level,

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Speaker 1: it's an excuse to bathe the woman in blood, or

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Speaker 1: have a woman in a bathtub full of blood, or

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Speaker 1: have someone hanging over a bathtub with blood. And it's

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Speaker 1: certainly possible, you know that in this picture too, Like

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Speaker 1: that could be it, That could be the sole reason

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Speaker 1: and for having her in the movie. But I think

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Speaker 1: Sally gives this character like a great physical presence. You know,

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Speaker 1: she's a beautiful actor, certainly, but she has these like

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Speaker 1: really piercing eyes, this kind of like smoldering intensity, and

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Speaker 1: her costuming is also very on point, helping her to

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Speaker 1: further mirror illustrations of the historic Bathory, who she already

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Speaker 1: kind of resembles. And it also kind of helps give

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Speaker 1: her this lean or ravenous energy that makes her feel

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Speaker 1: like this pale, deathly hunger burning within the folds of

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Speaker 1: her dark garments.

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Speaker 3: I think that's well said. Yes, she is absolutely like

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Speaker 3: pulsing with Bathorian energy in this film. It's a very

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Speaker 3: convincing performance. No, I thought maybe we should mention here,

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Speaker 3: of course, the fact that she is playing a real

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Speaker 3: historical figure. That's kind of a strange twist on this.

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Speaker 3: I don't know a lot about Elizabeth Bathory, so I

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Speaker 3: can't do a full history lesson here, but just in

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Speaker 3: case you don't know, this is a real historical figure,

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Speaker 3: a Hungarian countess who lived from fifty sixty to sixteen fourteen,

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Speaker 3: and she was accused, tried, and convicted of like an

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Speaker 3: unseene number of murders hundreds. So she is often identified

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Speaker 3: as one of the most prolific serial killers in history.

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Speaker 3: And though I don't have the requisite historical knowledge to

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Speaker 3: judge on this issue, I think it's worth flagging that

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Speaker 3: I have read some modern writers have doubts about whether

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Speaker 3: she was actually guilty or whether she was the target

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Speaker 3: of some kind of I don't know, persecution or witch hunt.

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Speaker 3: At the very least, it seems that a lot, if

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Speaker 3: not all, of the evidence used against her was either

429
00:24:34,800 --> 00:24:38,880
Speaker 3: hearsay or confessions extracted under torture, neither of which would

430
00:24:38,880 --> 00:24:42,240
Speaker 3: be considered a legitimate form of evidence in any good

431
00:24:43,000 --> 00:24:46,359
Speaker 3: judicial proceeding today. But it also looks like some people

432
00:24:46,400 --> 00:24:48,600
Speaker 3: think there might have been solid physical evidence as well.

433
00:24:48,880 --> 00:24:50,640
Speaker 3: I don't know, so I didn't have time to look

434
00:24:50,640 --> 00:24:53,760
Speaker 3: deeply into this question for today's Weird House, but if

435
00:24:53,760 --> 00:24:56,600
Speaker 3: you want somebody exploring this in more depth, I am

436
00:24:56,680 --> 00:24:59,359
Speaker 3: almost certain that our colleagues Holly and Tracy at Stuff

437
00:24:59,359 --> 00:25:01,760
Speaker 3: you missed in history class have one or more good

438
00:25:01,800 --> 00:25:02,639
Speaker 3: episodes on this.

439
00:25:03,359 --> 00:25:07,800
Speaker 1: They might even have one on Polish count Voldemono Doninsky.

440
00:25:08,359 --> 00:25:09,800
Speaker 1: I'm looking forward to that as well.

441
00:25:10,640 --> 00:25:12,200
Speaker 3: Wait, I don't know if you're pulling my leg.

442
00:25:12,240 --> 00:25:15,919
Speaker 1: I think this is a character right, Yeah, yeah, okay, okay,

443
00:25:15,720 --> 00:25:17,880
Speaker 1: but no, this is all a good point, you know. Yeah,

444
00:25:17,960 --> 00:25:21,159
Speaker 1: Bathory is based on a historic figure, and yeah, my

445
00:25:21,240 --> 00:25:25,000
Speaker 1: understanding as well is that there's legitimate reason to doubt

446
00:25:25,800 --> 00:25:30,760
Speaker 1: that she actually did all of these things. Maybe some

447
00:25:30,800 --> 00:25:33,440
Speaker 1: of these things. Who knows, but certainly there were those

448
00:25:33,480 --> 00:25:38,200
Speaker 1: that benefited politically from these accusations being leveled at her. Also,

449
00:25:38,240 --> 00:25:40,199
Speaker 1: I'm going to just go ahead and say that she's

450
00:25:40,240 --> 00:25:42,760
Speaker 1: she did not become a vampire. I think we can

451
00:25:42,800 --> 00:25:44,200
Speaker 1: go ahead and put that to rest.

452
00:25:44,720 --> 00:25:47,040
Speaker 3: See, you just reveal your closed mind in this.

453
00:25:57,320 --> 00:25:59,040
Speaker 1: All right? Well, we got some some more actors to

454
00:25:59,240 --> 00:26:04,159
Speaker 1: to to run through. Here we have Erica. Erica is

455
00:26:04,720 --> 00:26:07,840
Speaker 1: one of the would be witches in this film. She's

456
00:26:08,160 --> 00:26:14,040
Speaker 1: the head would be witch, played by Sylvia Aguilar, dates unknown,

457
00:26:14,440 --> 00:26:17,160
Speaker 1: leader of three college friends who aspire to have satanic

458
00:26:17,160 --> 00:26:20,000
Speaker 1: powers and become masters over life and death. She's the

459
00:26:20,040 --> 00:26:22,080
Speaker 1: most devoted to the three, and, as we quickly see,

460
00:26:22,440 --> 00:26:26,360
Speaker 1: is ruthless in her pursuit of dark powers. She'd previously

461
00:26:26,359 --> 00:26:30,280
Speaker 1: worked with Nashy on his seventy nine film The Traveler,

462
00:26:30,600 --> 00:26:33,960
Speaker 1: in which nash plays the devil, and the same year

463
00:26:34,040 --> 00:26:36,520
Speaker 1: she had a small part in Jaguar Lives, an action

464
00:26:36,640 --> 00:26:40,800
Speaker 1: movie starring kickboxer Joe Lewis, Christopher Lee, Donald, pleasants, Barbara

465
00:26:40,880 --> 00:26:43,919
Speaker 1: Bach and John Houston, and she was also in various

466
00:26:43,920 --> 00:26:45,040
Speaker 1: Spanish b movies.

467
00:26:45,400 --> 00:26:47,040
Speaker 3: Now, I don't know if I would agree with your

468
00:26:47,119 --> 00:26:52,320
Speaker 3: characterization of these three friends all wanting to have satanic powers.

469
00:26:53,080 --> 00:26:56,560
Speaker 3: Erica clearly wants to have satanic powers, but the other two,

470
00:26:56,760 --> 00:27:01,200
Speaker 3: especially what's her name, Karen, she is protesting that she's

471
00:27:01,320 --> 00:27:05,199
Speaker 3: just a scientist. Now, what exactly field of science is

472
00:27:05,240 --> 00:27:07,520
Speaker 3: she studying? I think we can explore that later. That

473
00:27:07,640 --> 00:27:11,800
Speaker 3: is a rather strange question as approached by the movie.

474
00:27:11,840 --> 00:27:14,960
Speaker 3: But I'm going to say mixed motivations in this group

475
00:27:15,000 --> 00:27:15,720
Speaker 3: of three friends.

476
00:27:16,400 --> 00:27:18,760
Speaker 1: Yeah, it kind of reminds me of a Piranha mandar,

477
00:27:19,480 --> 00:27:25,399
Speaker 1: where one person's quest to end a deadly multi generational

478
00:27:25,440 --> 00:27:29,240
Speaker 1: curse is another person's vacation. Same thing here, one person's

479
00:27:29,320 --> 00:27:35,240
Speaker 1: quest to resurrect a dead vampire queen and an acquire

480
00:27:35,320 --> 00:27:38,119
Speaker 1: dark powers. It's just another person's excuse to get out

481
00:27:38,160 --> 00:27:39,199
Speaker 1: of room for a few days.

482
00:27:39,720 --> 00:27:42,200
Speaker 3: Right, So Erica wants to become the queen of Hell,

483
00:27:42,359 --> 00:27:45,280
Speaker 3: Karen just wants to do science about raising the dead.

484
00:27:45,760 --> 00:27:49,520
Speaker 1: And Karen is played by Azosina Hernandez, who lived nineteen

485
00:27:49,560 --> 00:27:54,119
Speaker 1: sixty through twenty nineteen. Yeah, I think I agree with you.

486
00:27:54,200 --> 00:27:56,040
Speaker 1: I think she's a good, good girl who falls in

487
00:27:56,480 --> 00:27:59,760
Speaker 1: with a bad crowd of ultimately aspiring satanic witch is.

488
00:28:00,160 --> 00:28:04,040
Speaker 1: She's also our romantic female lead. Hernandez acted in various

489
00:28:04,359 --> 00:28:08,560
Speaker 1: Spanish sex comedies and horror films, including Nashi's nineteen eighty

490
00:28:08,600 --> 00:28:11,440
Speaker 1: film The Beast Carnival aka Human Beasts.

491
00:28:11,720 --> 00:28:14,200
Speaker 3: So this is our character who Yeah, as you say,

492
00:28:14,520 --> 00:28:18,200
Speaker 3: she falls into a tragic, doomed love story with Valdemar,

493
00:28:18,320 --> 00:28:20,880
Speaker 3: except they left out the love story. Did you notice that,

494
00:28:21,000 --> 00:28:23,280
Speaker 3: It's like it got cut from the film, the whole

495
00:28:23,280 --> 00:28:24,520
Speaker 3: thing with them falling in love.

496
00:28:25,320 --> 00:28:27,720
Speaker 1: Yeah. I mean you almost don't need it, just like

497
00:28:27,800 --> 00:28:30,760
Speaker 1: trust this it happened. I mean it's spawl nashy.

498
00:28:31,240 --> 00:28:33,639
Speaker 3: I mean, I meit that literally, like it feels like

499
00:28:33,680 --> 00:28:34,600
Speaker 3: a scene got cut.

500
00:28:35,000 --> 00:28:38,680
Speaker 1: Yeah. Yeah, yeah. There are a number of places, like

501
00:28:38,720 --> 00:28:41,000
Speaker 1: you point out, where it feels like, wait, who are

502
00:28:41,040 --> 00:28:44,200
Speaker 1: these characters? Why are they here? It seems like there

503
00:28:44,200 --> 00:28:46,040
Speaker 1: should be some connective material.

504
00:28:46,120 --> 00:28:48,000
Speaker 3: And I did see. I didn't have time to watch it,

505
00:28:48,000 --> 00:28:50,560
Speaker 3: but on the DVD there was there was something about

506
00:28:50,600 --> 00:28:53,440
Speaker 3: deleted scenes, and I was like, oh, okay, yeah, that

507
00:28:53,920 --> 00:28:55,280
Speaker 3: would make sense all right now.

508
00:28:55,280 --> 00:28:58,840
Speaker 1: The remaining of the three friends is Barbara. Barbara is

509
00:28:59,160 --> 00:29:03,360
Speaker 1: played by Pilar i'll Cone born nineteen fifty two. This

510
00:29:03,480 --> 00:29:05,520
Speaker 1: was her debut, but she went on to play other

511
00:29:05,600 --> 00:29:09,120
Speaker 1: are often uncredited roles. Two notable uncredited roles in nineteen

512
00:29:09,120 --> 00:29:12,400
Speaker 1: eighty two, she's a victim in the Spanish horror movie Pieces,

513
00:29:12,720 --> 00:29:15,520
Speaker 1: and she plays one of Fulsa Doom's slave girls in

514
00:29:15,560 --> 00:29:19,400
Speaker 1: Conan the Barbarian. There's an English language interview with her

515
00:29:19,480 --> 00:29:22,880
Speaker 1: at the Conan Completest website where she talks about the

516
00:29:22,880 --> 00:29:26,160
Speaker 1: shoot and identifies which extra she is. She says, quote,

517
00:29:26,160 --> 00:29:28,680
Speaker 1: if you pay attention, I stand out from the other girls.

518
00:29:28,960 --> 00:29:31,160
Speaker 1: I'm first seen topless with some sort of helmet on

519
00:29:31,200 --> 00:29:34,280
Speaker 1: my head, looking kind of stoned drugged. Then I rise

520
00:29:34,360 --> 00:29:37,200
Speaker 1: to go towards Conan, who wounds me with his sword

521
00:29:37,280 --> 00:29:39,280
Speaker 1: at belly level, killing me on the spot.

522
00:29:39,920 --> 00:29:41,640
Speaker 3: Okay, she knows how to sell her role.

523
00:29:42,080 --> 00:29:45,840
Speaker 1: Yeah, yeah, all right. There's another character that's important to

524
00:29:45,840 --> 00:29:50,360
Speaker 1: the plot, and that's Merkeaa. She is a scarred woman.

525
00:29:50,440 --> 00:29:53,560
Speaker 1: We find out she has a tragic backstory involving accusations

526
00:29:53,600 --> 00:29:58,800
Speaker 1: of witchcraft. Played by Beatrice el Rita dates unknown as well,

527
00:29:58,880 --> 00:30:01,200
Speaker 1: Spanish actor of the seven and eighties who worked as

528
00:30:01,200 --> 00:30:04,280
Speaker 1: a costume designer and stylist on Spanish films in the nineties.

529
00:30:04,520 --> 00:30:08,160
Speaker 1: Her other films include nineteen seventy one's necro Fagus, which

530
00:30:08,200 --> 00:30:10,800
Speaker 1: I've not seen but has bloodsucking lizard men in it.

531
00:30:11,560 --> 00:30:14,160
Speaker 1: Seventy two is called the Vampire in nineteen eighty six's

532
00:30:14,320 --> 00:30:17,080
Speaker 1: Blood Hunt. All right, this is a bit part, but

533
00:30:17,360 --> 00:30:20,560
Speaker 1: a familiar face shows up as Sando the Bandit. It's

534
00:30:20,880 --> 00:30:23,640
Speaker 1: Lewis Barbou, who lived nineteen twenty seven three two thousand

535
00:30:23,680 --> 00:30:26,840
Speaker 1: and one, familiar face in Spanish cinema of this time period.

536
00:30:27,200 --> 00:30:29,720
Speaker 1: Former circus performer turned actor with a knack for heavies

537
00:30:29,760 --> 00:30:32,520
Speaker 1: and villains. You might remember him from or from Amando

538
00:30:32,560 --> 00:30:35,280
Speaker 1: Dia Sorio's Return of the Blind Dead, which we talked about,

539
00:30:35,320 --> 00:30:38,480
Speaker 1: as well as the Laurelized Grasp, which we also talked

540
00:30:38,480 --> 00:30:40,880
Speaker 1: about on Weird House. He played a major role in

541
00:30:40,880 --> 00:30:43,320
Speaker 1: that one. In this one, he's just a bit parts.

542
00:30:43,520 --> 00:30:45,920
Speaker 3: He's like a nasty bandit who attacks nasty Rose.

543
00:30:46,400 --> 00:30:48,040
Speaker 1: Yeah. Yeah, he's got I mean, like I say, it's

544
00:30:48,360 --> 00:30:50,960
Speaker 1: that classic heavy face, all right. The makeup on this

545
00:30:51,040 --> 00:30:55,240
Speaker 1: one was Angel Lewis di Diego, responsible for the werewolf

546
00:30:55,280 --> 00:30:57,880
Speaker 1: makeup in particular, which I think is pretty top notch.

547
00:30:57,880 --> 00:31:00,560
Speaker 1: In this film. I thought the werewolf make up look good.

548
00:31:02,240 --> 00:31:03,920
Speaker 1: I think they had a higher budget on this one

549
00:31:03,920 --> 00:31:08,520
Speaker 1: than some previous Doninski films. And then Antonio Molina has

550
00:31:08,680 --> 00:31:11,920
Speaker 1: effects credit. This is a familiar name from Spanish productions

551
00:31:12,320 --> 00:31:15,479
Speaker 1: the special effects on them from the mid sixties through today.

552
00:31:15,600 --> 00:31:18,880
Speaker 1: Like he's still involved in pictures that often big Western

553
00:31:18,880 --> 00:31:22,520
Speaker 1: pictures that are shooting in Spain. All right, And finally

554
00:31:22,560 --> 00:31:25,360
Speaker 1: note on the music here. The music credit on this

555
00:31:25,480 --> 00:31:29,560
Speaker 1: film is just the cam Espana Library, but it pulls

556
00:31:29,600 --> 00:31:31,959
Speaker 1: in some awesome tracks. So it pulls in tracks from

557
00:31:32,040 --> 00:31:35,720
Speaker 1: other movies. It doesn't have its own original score. The

558
00:31:35,840 --> 00:31:38,480
Speaker 1: opening track is the most notable example. It is an

559
00:31:38,560 --> 00:31:42,760
Speaker 1: exuberant Italio disco track that I personally first heard in

560
00:31:42,800 --> 00:31:45,280
Speaker 1: a DJ mix by DJ Boba Fat for the Death

561
00:31:45,320 --> 00:31:49,200
Speaker 1: Waltz record Company several years back, and I didn't know

562
00:31:49,240 --> 00:31:50,800
Speaker 1: what it was for the longest. I just knew that

563
00:31:50,840 --> 00:31:55,280
Speaker 1: I liked it, and it pops up early in this movie.

564
00:31:55,360 --> 00:31:58,640
Speaker 1: It's a splendid track titled too Risky a Day for

565
00:31:58,760 --> 00:32:06,200
Speaker 1: a Regatta. Stelvio Capriana aka Viastell, who lived nineteen thirty

566
00:32:06,200 --> 00:32:09,400
Speaker 1: seven through twenty eighteen, an Italian composer behind the scores

567
00:32:09,440 --> 00:32:11,640
Speaker 1: of such movies as nineteen seventy one's Bay of Blood,

568
00:32:11,920 --> 00:32:15,680
Speaker 1: eighty two's Pieces Piranha to the Spawning, plus a load

569
00:32:15,680 --> 00:32:18,920
Speaker 1: of other B movies. This track is from his score

570
00:32:19,040 --> 00:32:23,680
Speaker 1: for the nineteen seventy seven Jaws ripoff Tentacles, which I

571
00:32:23,720 --> 00:32:26,560
Speaker 1: believe may have also recycled some elements from an earlier

572
00:32:26,600 --> 00:32:31,320
Speaker 1: score he did. Tentacles benefited from a solid cast John Houston,

573
00:32:31,360 --> 00:32:35,040
Speaker 1: Shelley Winters, Bo Hopkins, and Henry Fonda, and it seems

574
00:32:35,040 --> 00:32:36,640
Speaker 1: to have made money, but it does not have a

575
00:32:36,680 --> 00:32:40,960
Speaker 1: reputation for being good. Even Michael Weldon's main comment about

576
00:32:40,960 --> 00:32:45,200
Speaker 1: it is just about how stupendously boring the octopus scenes are.

577
00:32:45,760 --> 00:32:48,000
Speaker 3: I was looking up stills from this because I found,

578
00:32:48,200 --> 00:32:50,920
Speaker 3: wait a minute, there's a seventy seven Jaws rip off

579
00:32:50,960 --> 00:32:54,680
Speaker 3: about an octopus called the Tentacles or in Italian Tentacoli,

580
00:32:55,160 --> 00:32:57,920
Speaker 3: and I haven't seen this, so I'm like, oh, I've

581
00:32:57,960 --> 00:33:00,400
Speaker 3: got to see it. I'm looking at stills and they're

582
00:33:00,440 --> 00:33:06,440
Speaker 3: just all close ups of people's faces under blaring direct sunlight,

583
00:33:07,240 --> 00:33:09,720
Speaker 3: so it's like they had not discovered Magic Hour yet.

584
00:33:10,240 --> 00:33:14,560
Speaker 3: And I was like, where's the where's the octopus, where's

585
00:33:14,600 --> 00:33:18,560
Speaker 3: the speculative elopment. It just it did not look appealing.

586
00:33:20,280 --> 00:33:22,760
Speaker 1: At some point, we need to do a proper Jobs ripoff.

587
00:33:22,800 --> 00:33:25,400
Speaker 1: There's so many, so there's so many of them, there's

588
00:33:25,400 --> 00:33:27,800
Speaker 1: got to be one that hits the sweet spot, you know.

589
00:33:27,880 --> 00:33:30,680
Speaker 3: I have watched a lot of bad Shark movies in

590
00:33:30,720 --> 00:33:33,920
Speaker 3: my life, but it's strange. I find a lot of

591
00:33:33,960 --> 00:33:37,360
Speaker 3: the early Jaws ripoffs, like the ones that came directly

592
00:33:37,400 --> 00:33:40,280
Speaker 3: in its wake and were usually about some other type

593
00:33:40,280 --> 00:33:43,360
Speaker 3: of animal but followed the same plot arc as Jaws,

594
00:33:44,280 --> 00:33:46,320
Speaker 3: A lot of those are just like not very fun

595
00:33:46,480 --> 00:33:47,200
Speaker 3: for some reason.

596
00:33:47,400 --> 00:33:50,720
Speaker 1: I don't know. Yeah, yeah, I mean, it's kind of

597
00:33:50,760 --> 00:33:53,800
Speaker 1: the problems about a cash grab, right, Sometimes that really

598
00:33:53,880 --> 00:33:56,960
Speaker 1: is all it is. Sometimes there's nobody's personal vision wrapped

599
00:33:57,040 --> 00:33:59,360
Speaker 1: up in the project. One more note on the music here.

600
00:33:59,360 --> 00:34:03,840
Speaker 1: In the Blu Ray material, Lipinski writes that Neo Morriconi

601
00:34:03,920 --> 00:34:07,360
Speaker 1: was originally promoted as being the guy doing the score

602
00:34:07,480 --> 00:34:10,160
Speaker 1: before the film was released, but obviously that didn't come

603
00:34:10,200 --> 00:34:14,040
Speaker 1: to pass. Still, they apparently use some Morricone tracks sprinkled

604
00:34:14,040 --> 00:34:18,400
Speaker 1: throughout the film. There's another Capriani track in there, and

605
00:34:18,440 --> 00:34:22,319
Speaker 1: also it features some of the work of Carlo Rusticelli,

606
00:34:22,600 --> 00:34:25,680
Speaker 1: who scored Mario Baba's nineteen sixty four film Blood and

607
00:34:25,800 --> 00:34:26,520
Speaker 1: Black Lace.

608
00:34:27,200 --> 00:34:30,720
Speaker 3: Well, too Risky. A Day for Regatta is an excellent track.

609
00:34:30,800 --> 00:34:33,320
Speaker 3: It's kind of a yeah, I guess at Tello disco

610
00:34:33,440 --> 00:34:35,440
Speaker 3: would be the correct term. I was thinking of it

611
00:34:35,480 --> 00:34:39,120
Speaker 3: as a funk rock track, like euro funk rock. It

612
00:34:39,160 --> 00:34:43,360
Speaker 3: has this great walk down bassline, but it has harpsichord

613
00:34:43,480 --> 00:34:46,400
Speaker 3: music just jingling in the background, while it's sort of

614
00:34:46,480 --> 00:34:48,800
Speaker 3: rock electric rock instruments in the front.

615
00:34:49,120 --> 00:34:56,279
Speaker 1: Let's hear it, Sayceman, all right, I love it. I

616
00:34:56,360 --> 00:34:59,040
Speaker 1: love it. Well, now that we're all revved up, let's

617
00:34:59,040 --> 00:35:01,760
Speaker 1: get into the plot of Night of the Werewolf.

618
00:35:02,400 --> 00:35:06,560
Speaker 3: All right, we get a title. It says Hungary XVII century.

619
00:35:06,600 --> 00:35:10,000
Speaker 3: I guess that's sixteenth century, and an establishing shot of

620
00:35:10,000 --> 00:35:13,239
Speaker 3: a stone castle on a hillside, and there are soldiers

621
00:35:13,280 --> 00:35:17,520
Speaker 3: with long pole axes and red cross tunics walking alongside

622
00:35:17,520 --> 00:35:20,440
Speaker 3: an elegant woman in a wine colored dress as she

623
00:35:20,640 --> 00:35:23,680
Speaker 3: passes through the castle gates. And they're marching with her

624
00:35:23,719 --> 00:35:27,040
Speaker 3: as if escorting a prisoner. But could this beautiful and

625
00:35:27,120 --> 00:35:29,600
Speaker 3: regal lady really be in such a position? Is she

626
00:35:29,640 --> 00:35:33,000
Speaker 3: a prisoner? Well, they pass by an ominous scene. There

627
00:35:33,080 --> 00:35:36,239
Speaker 3: is a muscled man in a red executioner's hood and

628
00:35:36,280 --> 00:35:39,880
Speaker 3: a crowd of onlookers. A bearded man on a scaffold

629
00:35:40,040 --> 00:35:42,560
Speaker 3: lashed to an X shaped cross. Wait a minute, that

630
00:35:42,600 --> 00:35:44,919
Speaker 3: bearded man, he looks familiar. We'll come back to him.

631
00:35:45,840 --> 00:35:48,640
Speaker 3: In the foreground, there is a podium facing a row

632
00:35:48,640 --> 00:35:52,160
Speaker 3: of seated nobles and judges. And then the soldiers march

633
00:35:52,200 --> 00:35:54,400
Speaker 3: the woman up to the podium and she takes her place.

634
00:35:54,840 --> 00:35:58,279
Speaker 3: And there's like a steward who unrolls a scroll and

635
00:35:58,320 --> 00:36:01,440
Speaker 3: begins to read. To the crowd. He says, Countess Elizabeth

636
00:36:01,480 --> 00:36:05,439
Speaker 3: Bathory Nadasdi. And then of course, people who know they're

637
00:36:05,480 --> 00:36:08,400
Speaker 3: morbid history, they hear that name, they go, ah, Elizabeth Bathory.

638
00:36:08,480 --> 00:36:11,880
Speaker 3: Now they understand why she's being held Prisoner Stewart says.

639
00:36:12,040 --> 00:36:15,040
Speaker 3: This high court presided by the Supreme Judge of the Realm,

640
00:36:15,200 --> 00:36:20,320
Speaker 3: Lord Theodosius de Zulo, and the Noble Governor, Georgy Thurzo.

641
00:36:21,120 --> 00:36:23,200
Speaker 3: And here we get a cutaway to these guys, and

642
00:36:23,320 --> 00:36:25,600
Speaker 3: as soon as we get close ups on the nobleman,

643
00:36:25,760 --> 00:36:28,239
Speaker 3: I get the feeling like these old perverts are way

644
00:36:28,280 --> 00:36:31,160
Speaker 3: too excited about the prospect of punishing this woman.

645
00:36:31,560 --> 00:36:33,880
Speaker 1: And I can't help but feel like that. We're supposed

646
00:36:33,920 --> 00:36:36,000
Speaker 1: to feel that to some extent. You know, even though

647
00:36:36,040 --> 00:36:38,359
Speaker 1: Bathory is going to be set up is the main

648
00:36:38,520 --> 00:36:41,200
Speaker 1: villain of the piece, it's still, you know, we're gonna

649
00:36:41,200 --> 00:36:43,239
Speaker 1: have that sort of built in sympathy for the outsider

650
00:36:43,280 --> 00:36:44,040
Speaker 1: and the persecuted.

651
00:36:44,480 --> 00:36:49,640
Speaker 3: Yeah, so, so they say so the stewart says that

652
00:36:49,719 --> 00:36:54,399
Speaker 3: it finds you guilty of the execrable crimes of witchcraft, vamporism,

653
00:36:54,520 --> 00:36:58,400
Speaker 3: and pacts with the devil. I'm like, are those the crimes?

654
00:36:58,440 --> 00:37:00,000
Speaker 3: Is murder not good enough anymore?

655
00:37:00,880 --> 00:37:02,760
Speaker 1: That's like a lower court in these days.

656
00:37:03,080 --> 00:37:06,800
Speaker 3: Yeah. Hence you are to be sentenced to be immured

657
00:37:06,920 --> 00:37:09,840
Speaker 3: in your chambers and to stay there forever until the

658
00:37:09,880 --> 00:37:13,640
Speaker 3: hour of your death. Your servants named some servants will

659
00:37:13,680 --> 00:37:16,720
Speaker 3: be tortured and burned at the stake. That's what he says.

660
00:37:16,719 --> 00:37:19,040
Speaker 3: And I was like, is that how they would say

661
00:37:19,080 --> 00:37:22,360
Speaker 3: it even in the sixteenth century, like they will be tortured.

662
00:37:22,880 --> 00:37:25,600
Speaker 3: I think there would be more euphemistic somehow.

663
00:37:26,280 --> 00:37:29,840
Speaker 1: Now, quick quick question, did you do the dub or

664
00:37:29,840 --> 00:37:30,759
Speaker 1: the subtitles on.

665
00:37:30,719 --> 00:37:32,160
Speaker 3: These the subtitles?

666
00:37:32,440 --> 00:37:34,560
Speaker 1: Okay, yeah, I did the subtitles as well. That is

667
00:37:34,600 --> 00:37:36,719
Speaker 1: never a problem with doing a dub on a Nashi film,

668
00:37:36,719 --> 00:37:40,680
Speaker 1: because it's my understanding that Nashi is almost always dubbed anyway,

669
00:37:40,760 --> 00:37:44,400
Speaker 1: even if you're listening to it in the original language. Okay,

670
00:37:44,400 --> 00:37:45,759
Speaker 1: but continue the sentence.

671
00:37:45,400 --> 00:37:47,799
Speaker 3: Continued, Okay, Okay, it goes on. He names a bunch

672
00:37:47,840 --> 00:37:52,280
Speaker 3: of other co conspirators. Your cousin Moses Otvos will be hanged,

673
00:37:52,680 --> 00:37:56,640
Speaker 3: and the rest of your criminal accomplices Darvula, Barsony and

674
00:37:56,760 --> 00:38:02,240
Speaker 3: Torco will be beheaded. And then oh, then Bathory herself.

675
00:38:02,280 --> 00:38:05,440
Speaker 3: She has some things to say in a witchy whisper.

676
00:38:05,480 --> 00:38:08,440
Speaker 3: As the camera slowly zooms in on her face. She says,

677
00:38:08,560 --> 00:38:12,200
Speaker 3: progeny of bastards, I will return, I will rise from

678
00:38:12,200 --> 00:38:15,080
Speaker 3: my ashes, and your world will turn into hell.

679
00:38:16,280 --> 00:38:19,320
Speaker 1: We had, of course, a similar scene in Perana Mandir

680
00:38:19,640 --> 00:38:23,200
Speaker 1: as well, and also in a horror Rises from the Tomb.

681
00:38:23,440 --> 00:38:26,240
Speaker 1: You'd think that if you're if you're, if you're trying

682
00:38:26,280 --> 00:38:29,960
Speaker 1: and executing warlocks and witches, you need to stop giving

683
00:38:30,000 --> 00:38:33,560
Speaker 1: them this chance to publicly curse everybody. It's just gonna

684
00:38:33,560 --> 00:38:34,279
Speaker 1: bite you in the butt.

685
00:38:34,760 --> 00:38:37,400
Speaker 3: It always does, and I always think they can beat it.

686
00:38:37,440 --> 00:38:40,080
Speaker 3: They're like, look, if we bury them in like two

687
00:38:40,120 --> 00:38:43,319
Speaker 3: separate places. There is no way people will ever come

688
00:38:43,360 --> 00:38:45,440
Speaker 3: along later and reunite their corpses.

689
00:38:45,760 --> 00:38:47,960
Speaker 1: Yeah, or in this case, they're like, we grounded her

690
00:38:48,000 --> 00:38:50,720
Speaker 1: for life, Like she's not going to be a problem anymore,

691
00:38:50,760 --> 00:38:52,279
Speaker 1: trust me, she's not allowed to come out of her ring.

692
00:38:52,800 --> 00:38:56,640
Speaker 3: Yeah. So the creepy nobles are whispering to themselves. They're like,

693
00:38:56,680 --> 00:39:00,520
Speaker 3: that woman is a monster. She practiced cannibalism, drank blood,

694
00:39:00,640 --> 00:39:04,680
Speaker 3: and sold her soul to the devil. But I was like, wait,

695
00:39:04,800 --> 00:39:07,120
Speaker 3: wasn't that already established in the charges they just heard.

696
00:39:07,160 --> 00:39:10,680
Speaker 3: I guess the cannibalism is new information, but they say

697
00:39:10,719 --> 00:39:14,680
Speaker 3: that thousands were murdered. Ah, but here's something new. One

698
00:39:14,680 --> 00:39:17,000
Speaker 3: of the nobles then points to the guy tied to

699
00:39:17,040 --> 00:39:20,040
Speaker 3: the X shaped cross, and what do you know, that

700
00:39:20,080 --> 00:39:22,720
Speaker 3: looks a lot like Paul Nashy. That is Paul Nashy.

701
00:39:22,760 --> 00:39:25,759
Speaker 3: But he is very bummed out. He is just in

702
00:39:25,840 --> 00:39:27,280
Speaker 3: a bad place in the scene.

703
00:39:27,880 --> 00:39:30,839
Speaker 1: Yeah, I mean not just that he's gonna be executed,

704
00:39:30,880 --> 00:39:33,440
Speaker 1: but like his heart has been broken. Yeah.

705
00:39:33,520 --> 00:39:35,960
Speaker 3: Now, as a funny note, I did his tunic has

706
00:39:36,000 --> 00:39:38,600
Speaker 3: a design on it that'll play into the plot later on,

707
00:39:38,719 --> 00:39:41,239
Speaker 3: And it was reminding me of something I couldn't put

708
00:39:41,280 --> 00:39:43,400
Speaker 3: my finger on. And then when I finally realized what

709
00:39:43,440 --> 00:39:45,600
Speaker 3: it was, it was hilarious because it reminded me of

710
00:39:45,640 --> 00:39:49,560
Speaker 3: the Major League Baseball logo. It's like that it was

711
00:39:49,600 --> 00:39:51,840
Speaker 3: just like a diagonal slash with like the blue and

712
00:39:51,880 --> 00:39:52,280
Speaker 3: the red.

713
00:39:53,040 --> 00:39:55,160
Speaker 1: Yeah. I'm glad you pointed this out, because when I

714
00:39:55,239 --> 00:39:57,759
Speaker 1: was watching it, I was like, something feels off. I

715
00:39:57,800 --> 00:39:59,520
Speaker 1: don't know what it is, but I don't like something

716
00:39:59,560 --> 00:40:02,240
Speaker 1: about this coat of arms, even though like clearly it's

717
00:40:02,239 --> 00:40:03,880
Speaker 1: supposed to be some sort of coat of arms that

718
00:40:04,120 --> 00:40:06,920
Speaker 1: I guess it's the Dninsky coat of arms. And you know,

719
00:40:06,960 --> 00:40:09,000
Speaker 1: I guess the color scheme matches up with some of

720
00:40:09,040 --> 00:40:11,240
Speaker 1: the Polish and Hungarian coat of arms that you see.

721
00:40:11,239 --> 00:40:15,280
Speaker 1: But yeah, it now that you pointed out, Yeah, major.

722
00:40:15,160 --> 00:40:18,200
Speaker 3: League Bithball, I think his costume deserved a better coat

723
00:40:18,200 --> 00:40:20,919
Speaker 3: of arms. Yeah, like maybe they could have just done

724
00:40:20,960 --> 00:40:22,680
Speaker 3: it like black and red or something.

725
00:40:22,680 --> 00:40:23,080
Speaker 1: I don't know.

726
00:40:23,320 --> 00:40:26,200
Speaker 3: Yeah, anyway, so the nobles say that you know him,

727
00:40:26,280 --> 00:40:29,359
Speaker 3: that's Valdemar Doninski. He's a Polish noble and he has

728
00:40:29,440 --> 00:40:32,040
Speaker 3: served her faithfully, which probably means he's done a lot

729
00:40:32,080 --> 00:40:34,560
Speaker 3: of bad stuff. But one of them says, you know,

730
00:40:34,600 --> 00:40:38,120
Speaker 3: he carries the pentagon sign on his chest, and I

731
00:40:38,160 --> 00:40:40,800
Speaker 3: was thinking at first that they were referring to the

732
00:40:41,120 --> 00:40:43,799
Speaker 3: baseball symbol, but no, I think they're talking about how

733
00:40:44,080 --> 00:40:46,960
Speaker 3: he has like a scar on his chest in the

734
00:40:46,960 --> 00:40:49,600
Speaker 3: shape of a pentagon, like the polygon.

735
00:40:50,000 --> 00:40:52,160
Speaker 1: Now I don't remember if they actually discussed this much,

736
00:40:52,200 --> 00:40:55,920
Speaker 1: but we see it later, and my understanding was that, like,

737
00:40:56,000 --> 00:40:59,880
Speaker 1: this is the mark that Bathory gave him and cursed

738
00:41:00,320 --> 00:41:05,200
Speaker 1: with lecanthropy and so and made him of course your servant.

739
00:41:05,560 --> 00:41:08,279
Speaker 3: I think that's right. So the nobles say she dominated

740
00:41:08,360 --> 00:41:10,960
Speaker 3: him with her satanic trickery and used him in her

741
00:41:11,080 --> 00:41:17,320
Speaker 3: evil revenges. So he's been convicted as well. The steward

742
00:41:17,360 --> 00:41:20,000
Speaker 3: is reading out the charges against him, says, quote, it

743
00:41:20,080 --> 00:41:23,480
Speaker 3: is proved that in full moon and turned into a

744
00:41:23,640 --> 00:41:28,040
Speaker 3: gigantic wolf, you devoured hundreds of innocent souls. Thus your

745
00:41:28,120 --> 00:41:31,920
Speaker 3: face will be covered with the mask of shame, and

746
00:41:31,960 --> 00:41:35,080
Speaker 3: your black heart will be pierced by the sacred cross

747
00:41:35,320 --> 00:41:39,960
Speaker 3: wrought with silver from the Bayer to Chalice. And now

748
00:41:40,000 --> 00:41:43,120
Speaker 3: Paul Nashy, he looks really bummed, but actually this is

749
00:41:43,200 --> 00:41:44,839
Speaker 3: kind of a relief to him. I think he sort

750
00:41:44,840 --> 00:41:47,719
Speaker 3: of looks up at God, I guess, and says, now

751
00:41:47,760 --> 00:41:50,160
Speaker 3: my spirit will finally be able to rest in peace.

752
00:41:50,320 --> 00:41:52,960
Speaker 3: So it seems like actually he's not even mad about it.

753
00:41:53,000 --> 00:41:55,760
Speaker 3: He's like, finally they're going to just do the silver

754
00:41:55,840 --> 00:41:57,800
Speaker 3: thing in my heart and everything will be okay.

755
00:41:58,280 --> 00:41:59,840
Speaker 1: Bring on the mask of shame then.

756
00:42:00,200 --> 00:42:02,480
Speaker 3: Yeah, So they behead one of the murder servants and

757
00:42:02,480 --> 00:42:04,800
Speaker 3: then they go up to Voldemar with the mask of shame,

758
00:42:04,920 --> 00:42:06,960
Speaker 3: and I gotta say it is it is a quite

759
00:42:06,960 --> 00:42:09,640
Speaker 3: shameful mask. It looks like an iron Ewok.

760
00:42:11,400 --> 00:42:13,960
Speaker 1: Yeah, I got kind of notes of a bat off

761
00:42:14,000 --> 00:42:16,239
Speaker 1: of it. But but you know, it's the mask of shame, Joe.

762
00:42:16,280 --> 00:42:19,400
Speaker 1: It's not the mask of looking really cool, though. I

763
00:42:19,440 --> 00:42:23,000
Speaker 1: guess it does look cooler than some actual historic masks

764
00:42:23,040 --> 00:42:24,919
Speaker 1: of shame that you find that tend to just look

765
00:42:25,000 --> 00:42:27,520
Speaker 1: a little bit more goofy fair point.

766
00:42:27,600 --> 00:42:30,600
Speaker 3: So they hammer the silver dagger into his heart and

767
00:42:31,160 --> 00:42:33,239
Speaker 3: that's I guess that's it for Voldemar. He will never

768
00:42:33,360 --> 00:42:33,920
Speaker 3: rise again.

769
00:42:34,520 --> 00:42:36,920
Speaker 1: He's wearing the mask. The blood comes out of the

770
00:42:36,960 --> 00:42:37,920
Speaker 1: mouth of the mask.

771
00:42:38,440 --> 00:42:40,240
Speaker 3: And here's where we get the song. Is this the

772
00:42:40,239 --> 00:42:41,080
Speaker 3: the Regatta song?

773
00:42:41,320 --> 00:42:46,440
Speaker 1: Yeah, boom boom, yeah, boom boom boom boom boom.

774
00:42:46,520 --> 00:42:50,840
Speaker 3: Groovy bassline, some some horns blasting, and then the the

775
00:42:50,920 --> 00:42:52,279
Speaker 3: harpsichord at the same time.

776
00:42:53,120 --> 00:42:54,600
Speaker 1: Now, I think I had to look at two different

777
00:42:54,680 --> 00:42:57,040
Speaker 1: versions of the credits because I think on the the

778
00:42:57,320 --> 00:43:01,320
Speaker 1: the the American opening credits, there are there's like a

779
00:43:01,360 --> 00:43:03,479
Speaker 1: long stretch where there are no credits over the mask.

780
00:43:03,560 --> 00:43:07,920
Speaker 1: It's just music and bloody mask of shame. But in

781
00:43:08,000 --> 00:43:10,200
Speaker 1: the you look back at the original Spanish credits and

782
00:43:10,280 --> 00:43:13,600
Speaker 1: like there are credits rolling over that. So if that

783
00:43:13,719 --> 00:43:16,880
Speaker 1: looks weird in the international versions of it, that's just

784
00:43:16,960 --> 00:43:17,960
Speaker 1: the international version.

785
00:43:18,520 --> 00:43:21,800
Speaker 3: Then we cut to modern day and I know this

786
00:43:22,000 --> 00:43:25,360
Speaker 3: is a Spanish movie, but this first scene in the

787
00:43:25,440 --> 00:43:28,719
Speaker 3: modern era, it is just so in line with the

788
00:43:29,360 --> 00:43:31,879
Speaker 3: archetype of the first scene you get where you meet

789
00:43:31,880 --> 00:43:35,719
Speaker 3: the protagonists in an Italian horror movie of the seventies.

790
00:43:36,640 --> 00:43:38,480
Speaker 3: So let me describe it and maybe you'll know what

791
00:43:38,560 --> 00:43:43,640
Speaker 3: I mean. We're somewhere in Rome in the modern era.

792
00:43:43,880 --> 00:43:46,880
Speaker 3: Four hip young people are hanging out on a blanket

793
00:43:47,040 --> 00:43:50,040
Speaker 3: in the grass by a pool somewhere. It's two men,

794
00:43:50,200 --> 00:43:55,879
Speaker 3: two women. The women are beautiful, the men are skeezy jerks, bikinis,

795
00:43:56,040 --> 00:43:59,560
Speaker 3: dudes in swim briefs, gold jewelry. There is a ratan

796
00:43:59,680 --> 00:44:02,800
Speaker 3: te tray on which there is an ice bucket and

797
00:44:02,880 --> 00:44:06,239
Speaker 3: a chord of scotch, and they're mixing scotch with schwepes

798
00:44:06,400 --> 00:44:10,440
Speaker 3: over ice in fancy crystal pattern lowball glasses. And then

799
00:44:10,520 --> 00:44:12,560
Speaker 3: there is a pack. The camera is close on a

800
00:44:12,600 --> 00:44:15,839
Speaker 3: pack of Lark brand cigarettes lying between them and the grass,

801
00:44:16,480 --> 00:44:19,000
Speaker 3: next to an ash tray with like thirty cigarette butts

802
00:44:19,080 --> 00:44:21,239
Speaker 3: in it. It looks like it's like noon, so like

803
00:44:21,400 --> 00:44:25,120
Speaker 3: high sun beating down on them. At least we zoom out.

804
00:44:25,160 --> 00:44:27,960
Speaker 3: At least two more packs of cigarettes become visible within

805
00:44:28,040 --> 00:44:31,280
Speaker 3: a five foot radius of the original. A portable radio

806
00:44:31,440 --> 00:44:34,640
Speaker 3: is blasting some kind of song that has like it's

807
00:44:34,680 --> 00:44:37,759
Speaker 3: like candy sweet pop love song harmonies, but also what

808
00:44:37,920 --> 00:44:42,560
Speaker 3: sounds like prog rock guitar. Then the women hanging out

809
00:44:42,600 --> 00:44:44,920
Speaker 3: here are talking about a friend of theirs named Erica,

810
00:44:45,360 --> 00:44:48,560
Speaker 3: who is about to head to Transylvania to explore quote

811
00:44:48,760 --> 00:44:51,839
Speaker 3: the mysteries. They say, it's like going back in time.

812
00:44:52,640 --> 00:44:54,880
Speaker 3: And then the two dudes are like, your friend is

813
00:44:54,960 --> 00:44:58,160
Speaker 3: stupid who still believes in ghosts and black magic in

814
00:44:58,239 --> 00:45:01,480
Speaker 3: this day and age. And then the other guy's like, hey,

815
00:45:01,600 --> 00:45:04,200
Speaker 3: remember when she got drunk and started talking about how

816
00:45:04,280 --> 00:45:08,760
Speaker 3: she could communicate with the spirit of a dead Hungarian countess. Preposterous.

817
00:45:09,600 --> 00:45:12,200
Speaker 3: And then one of the ladies is like, hey, stop

818
00:45:12,280 --> 00:45:16,040
Speaker 3: insulting our friend. We are scientists. And then the dudes

819
00:45:16,120 --> 00:45:20,040
Speaker 3: are like, scientists, but you're women. You're beautiful, you can't

820
00:45:20,080 --> 00:45:23,840
Speaker 3: be scientists. You should stop being interested in things that

821
00:45:24,080 --> 00:45:26,800
Speaker 3: end with ology. And then the women shoved the dudes

822
00:45:26,840 --> 00:45:29,759
Speaker 3: into the pool, and the dudes appear to yell something

823
00:45:29,840 --> 00:45:33,000
Speaker 3: offensive at the women, for which there were no subtitles.

824
00:45:34,239 --> 00:45:37,560
Speaker 1: Now give this film credit, though. They shove these these

825
00:45:37,800 --> 00:45:41,440
Speaker 1: really annoying dudes into the pool and you never see

826
00:45:41,520 --> 00:45:41,879
Speaker 1: them again.

827
00:45:41,920 --> 00:45:44,640
Speaker 3: You never see them again. They're just done with those guys.

828
00:45:45,120 --> 00:45:46,879
Speaker 1: Yeah, I'm so glad they didn't come on the trip.

829
00:45:47,200 --> 00:45:49,480
Speaker 1: I mean, if they'd come on the trip, they would die,

830
00:45:49,719 --> 00:45:51,480
Speaker 1: to be sure, and there would be some sort of

831
00:45:52,160 --> 00:45:55,399
Speaker 1: Catharsis in that. But I'm glad they stayed stayed in Rome.

832
00:45:55,920 --> 00:45:58,400
Speaker 3: I agree. I was when we met them. I was like, oh, no,

833
00:45:58,680 --> 00:46:00,480
Speaker 3: we just are these guys going to be around the

834
00:46:00,520 --> 00:46:03,480
Speaker 3: whole movie? But nope, shoved in the pool. They yell

835
00:46:03,560 --> 00:46:06,680
Speaker 3: some kind of insult, not even bothered to subtitle it,

836
00:46:06,800 --> 00:46:10,080
Speaker 3: and then we're gone. Now the whole thing about the

837
00:46:10,120 --> 00:46:13,680
Speaker 3: two women from the scene being scientists, I was a

838
00:46:13,760 --> 00:46:17,840
Speaker 3: little iffy on that because from what they're saying, whatever

839
00:46:18,040 --> 00:46:20,800
Speaker 3: field of science these two people are studying seems to

840
00:46:20,920 --> 00:46:27,080
Speaker 3: involve magic and necromancy and maybe not even like studying it,

841
00:46:27,400 --> 00:46:32,200
Speaker 3: but like practicing it. So I'm confused what science this is.

842
00:46:33,239 --> 00:46:35,080
Speaker 1: This is the kind of science that is backed up

843
00:46:35,120 --> 00:46:38,520
Speaker 1: in ads for shady products, Like scientists agree, Well, it's

844
00:46:39,120 --> 00:46:40,799
Speaker 1: it's it's it's these folks.

845
00:46:40,800 --> 00:46:45,200
Speaker 3: Maybe of the more pseudo variety. Okay, So there's another

846
00:46:45,320 --> 00:46:47,960
Speaker 3: scene we cut to where there's like an old professor

847
00:46:48,040 --> 00:46:51,360
Speaker 3: and a young woman and they're having tea discussing Countess Bathory.

848
00:46:52,120 --> 00:46:54,880
Speaker 3: This lady is the Erica that the other people were

849
00:46:54,920 --> 00:46:58,840
Speaker 3: talking about behind her back in the previous scene, and

850
00:46:59,080 --> 00:47:02,520
Speaker 3: the professor is in possession. In this he's got a

851
00:47:02,560 --> 00:47:06,800
Speaker 3: gold medallion with a pentagram goat head on it and

852
00:47:06,920 --> 00:47:10,239
Speaker 3: it says Astroth And he says, you know, this medallion

853
00:47:10,320 --> 00:47:13,560
Speaker 3: belonged to Countess Bathory, and according to legend, if the

854
00:47:13,640 --> 00:47:16,320
Speaker 3: blood of a young woman is spilled on the ashes

855
00:47:16,400 --> 00:47:20,360
Speaker 3: of the countess and the medallion ritual is used to

856
00:47:20,600 --> 00:47:24,719
Speaker 3: invoke Astaroth. Then Elizabeth Bathory is going to return from

857
00:47:24,760 --> 00:47:28,840
Speaker 3: the grave. And Erica says, you know, Karen, Barbara and

858
00:47:28,920 --> 00:47:31,759
Speaker 3: I and Karen and Barbara where the women and the

859
00:47:31,800 --> 00:47:35,600
Speaker 3: other scene. The three of us, We've researched old libraries,

860
00:47:35,800 --> 00:47:40,279
Speaker 3: ruined castles, monasteries and all kinds of documents. And the

861
00:47:40,360 --> 00:47:42,960
Speaker 3: professor is like, I know you were my best students.

862
00:47:43,320 --> 00:47:46,040
Speaker 3: I'm proud of your dedication, though at the same time

863
00:47:46,120 --> 00:47:47,640
Speaker 3: it does kind of sound like he's just trying to

864
00:47:47,680 --> 00:47:52,160
Speaker 3: get her to stop talking about Elizabeth Bathory. Yeah, but

865
00:47:53,320 --> 00:47:56,040
Speaker 3: he's like, you know, nobody knows where Bathory's remains are,

866
00:47:56,160 --> 00:47:59,120
Speaker 3: so we cannot continue our studies on this. But then

867
00:47:59,320 --> 00:48:03,719
Speaker 3: Erica revealed she does know. She discovered the location of

868
00:48:03,840 --> 00:48:08,279
Speaker 3: Bathory's ashes, as well as of Voldemar Doninski and her

869
00:48:08,360 --> 00:48:11,680
Speaker 3: cousin Otvos. They're all hiding in a castle somewhere in

870
00:48:11,719 --> 00:48:15,239
Speaker 3: the Carpathian Mountains, and she says, and we will go there.

871
00:48:16,160 --> 00:48:19,880
Speaker 3: And what exactly is the outcome they're looking for unclear

872
00:48:19,960 --> 00:48:21,000
Speaker 3: at this point, but.

873
00:48:21,120 --> 00:48:23,520
Speaker 1: I think we know I think we know what Erica

874
00:48:23,600 --> 00:48:24,960
Speaker 1: anyway has in store.

875
00:48:25,200 --> 00:48:27,840
Speaker 3: Right, Because so Erica wants to raise she asked the

876
00:48:27,920 --> 00:48:30,399
Speaker 3: professor if she can take the medallion with her when

877
00:48:30,440 --> 00:48:33,440
Speaker 3: she goes to the Carpathian Mountains, and he gets very angry.

878
00:48:33,680 --> 00:48:36,600
Speaker 3: So he's like, hey, I am a respected academic. I'm

879
00:48:36,640 --> 00:48:40,800
Speaker 3: not somebody who engages in necromancy. So whatever his research

880
00:48:40,920 --> 00:48:43,959
Speaker 3: project is, it is not explicitly raising the dead. Maybe

881
00:48:44,000 --> 00:48:46,800
Speaker 3: it's like learning how to raise the dead, but not

882
00:48:47,040 --> 00:48:47,400
Speaker 3: doing it.

883
00:48:49,360 --> 00:48:53,799
Speaker 1: It's like, I, yes, I do own the historic Astaroth

884
00:48:54,200 --> 00:48:57,279
Speaker 1: medallion that will raise Count's Bathory from the grave, but

885
00:48:57,360 --> 00:48:59,920
Speaker 1: I'm not into this stuff. Shouldn't be into this stuff.

886
00:49:00,480 --> 00:49:05,640
Speaker 3: Yeah, yeah, this is just for historical interest. It's not

887
00:49:05,840 --> 00:49:17,800
Speaker 3: because I'm into it. But Erica starts seeing visions of

888
00:49:17,840 --> 00:49:20,920
Speaker 3: a face in the flames of the fireplace. Maybe it's

889
00:49:21,000 --> 00:49:24,200
Speaker 3: Bathory's face, I don't remember, and she says, you know,

890
00:49:24,680 --> 00:49:27,400
Speaker 3: it's been a long time since I fully embraced Satanism,

891
00:49:28,520 --> 00:49:31,520
Speaker 3: but I've been talking to Elizabeth Bathory a lot, talking

892
00:49:31,560 --> 00:49:33,600
Speaker 3: to her spirit, really getting to know her, and she

893
00:49:33,760 --> 00:49:36,160
Speaker 3: got a raw deal. So here's what I'm gonna do.

894
00:49:36,360 --> 00:49:38,200
Speaker 3: I'm gonna take Karen and Barbara with me to the

895
00:49:38,280 --> 00:49:40,400
Speaker 3: castle and I'm going to kill them and use their

896
00:49:40,440 --> 00:49:43,279
Speaker 3: blood to raise the Countess from the dead, and then

897
00:49:43,360 --> 00:49:46,360
Speaker 3: we will enter a world of infinite power. And it

898
00:49:46,440 --> 00:49:48,720
Speaker 3: doesn't matter that you won't give me the medallion, because

899
00:49:48,840 --> 00:49:50,799
Speaker 3: I'm going to kill you and take it. And then

900
00:49:50,960 --> 00:49:54,920
Speaker 3: she strangles him with gold Mardy grubides and as this

901
00:49:55,080 --> 00:49:57,560
Speaker 3: is happening, we cut away to a painting on the wall.

902
00:49:58,320 --> 00:50:00,200
Speaker 3: I think this is supposed to be a paint of

903
00:50:00,239 --> 00:50:04,239
Speaker 3: Paul Nashy and it I'm gonna say it's not a

904
00:50:04,320 --> 00:50:07,480
Speaker 3: great likeness. It looks more like acid test John Ham

905
00:50:07,800 --> 00:50:11,719
Speaker 3: with like a beard and long hair. But it's when

906
00:50:11,800 --> 00:50:13,920
Speaker 3: it zooms out you see the other portraits on the wall.

907
00:50:14,040 --> 00:50:15,880
Speaker 3: This again he's this is the guy who's like, I

908
00:50:16,040 --> 00:50:19,359
Speaker 3: will not do necromancy. The paintings on his wall are

909
00:50:19,440 --> 00:50:23,280
Speaker 3: Paul Nashy, Vlad the Impaler, and Bathory.

910
00:50:23,640 --> 00:50:25,520
Speaker 1: Yeah, he really brought this on himself, but.

911
00:50:25,560 --> 00:50:27,120
Speaker 3: Okay, Erica has the medallion.

912
00:50:27,239 --> 00:50:27,359
Speaker 1: Now.

913
00:50:28,200 --> 00:50:30,160
Speaker 3: Next scene, we get a couple of guys in a

914
00:50:30,200 --> 00:50:32,680
Speaker 3: cemetery somewhere in the middle of the night, and they

915
00:50:32,719 --> 00:50:35,160
Speaker 3: are arguing about whether it is a good idea to

916
00:50:35,280 --> 00:50:39,480
Speaker 3: engage in grave robbery. There's like a sort of a stammering,

917
00:50:39,600 --> 00:50:43,560
Speaker 3: rustic character who isn't so sure about the propriety of

918
00:50:43,600 --> 00:50:46,680
Speaker 3: stealing dead bodies. And then there is a rotund, wealthy

919
00:50:46,800 --> 00:50:49,080
Speaker 3: man in a tuxedo of sorts, I guess it's more

920
00:50:49,160 --> 00:50:53,760
Speaker 3: kind of a old fashioned tuxedoish looking thing. He's gesticulating

921
00:50:53,880 --> 00:50:56,680
Speaker 3: with a skull top cane in his hand. It's got

922
00:50:56,719 --> 00:50:59,640
Speaker 3: like a silver skull on top. And he seems to

923
00:50:59,760 --> 00:51:03,160
Speaker 3: have hired the other guy, and he's offering these smooth

924
00:51:03,200 --> 00:51:07,320
Speaker 3: assurances that what they're doing is super cool, all above board.

925
00:51:08,400 --> 00:51:10,200
Speaker 3: His story is they're gonna, you know, they're going to

926
00:51:10,239 --> 00:51:13,440
Speaker 3: recover some priceless artifacts and donate them to the museum

927
00:51:13,520 --> 00:51:17,160
Speaker 3: in Budapest. Oh and as they're wandering around arguing, we

928
00:51:17,360 --> 00:51:22,200
Speaker 3: keep hearing this distant, booming, animalistic shriek, like one of

929
00:51:22,239 --> 00:51:25,560
Speaker 3: the dinosaurs in Jurassic Park, just bellowing in the night.

930
00:51:25,880 --> 00:51:26,839
Speaker 3: Did you notice this too?

931
00:51:26,920 --> 00:51:29,200
Speaker 1: What was going on? I didn't notice this, but it

932
00:51:29,280 --> 00:51:32,080
Speaker 1: makes sense given the way that they present the region

933
00:51:32,160 --> 00:51:35,279
Speaker 1: surrounding the castle, like this is a bad area. This

934
00:51:35,440 --> 00:51:39,440
Speaker 1: is like raven lof territory. The only people who initially

935
00:51:39,520 --> 00:51:42,960
Speaker 1: seem to be in this area are like grave robbers, bandits,

936
00:51:43,840 --> 00:51:45,520
Speaker 1: and folks who are generally up to no good. That

937
00:51:45,600 --> 00:51:48,080
Speaker 1: begins to shift a little bit, but at least initially

938
00:51:48,320 --> 00:51:51,040
Speaker 1: like this is a bad land full of bad folk.

939
00:51:51,480 --> 00:51:56,040
Speaker 3: Yes, like literally everyone in this geographic area will violently

940
00:51:56,080 --> 00:51:57,120
Speaker 3: attack you on site.

941
00:51:58,200 --> 00:51:59,879
Speaker 1: But these two, these two are also kind of fun.

942
00:52:00,040 --> 00:52:02,439
Speaker 1: Like I could have followed them around for a little

943
00:52:02,440 --> 00:52:05,280
Speaker 1: bit more. I could see, like this the basic comic

944
00:52:06,040 --> 00:52:07,359
Speaker 1: mechanisms in play here.

945
00:52:07,600 --> 00:52:09,800
Speaker 3: Oh yeah, yeah, this was good. It was a good dynamic.

946
00:52:09,880 --> 00:52:12,919
Speaker 3: So they go down into this underground crypt. They find

947
00:52:12,960 --> 00:52:15,760
Speaker 3: the grave of Count Valdemar Doninsky, and the grave digger

948
00:52:16,280 --> 00:52:22,040
Speaker 3: reads the inscription, which is just effusive promises of vicious

949
00:52:22,120 --> 00:52:26,719
Speaker 3: supernatural revenge against anyone who disturbs these remains, and tuxedo

950
00:52:26,800 --> 00:52:28,439
Speaker 3: guys like, all right, let's get a move on. Open

951
00:52:28,520 --> 00:52:34,040
Speaker 3: it up, so they, you know, they take the stone

952
00:52:34,080 --> 00:52:36,239
Speaker 3: cover off the vault and there's Paul Nashi still in

953
00:52:36,320 --> 00:52:39,200
Speaker 3: his iron Ewok mask, with a silver dagger poking out

954
00:52:39,239 --> 00:52:43,240
Speaker 3: of his chest. The tuxedo guy greedily removes the dagger

955
00:52:43,360 --> 00:52:47,239
Speaker 3: and then bam, it is instant lightning strikes and Valdemar's

956
00:52:47,320 --> 00:52:50,440
Speaker 3: eyes start darting around behind the slits in his mask.

957
00:52:50,840 --> 00:52:52,880
Speaker 3: This shot I thought was very scary.

958
00:52:54,000 --> 00:52:56,160
Speaker 1: Yeah, yeah, this is pretty good. And of course this

959
00:52:56,239 --> 00:53:01,080
Speaker 1: also lines up with past Dninsky resurrection scene an assignment terror.

960
00:53:01,480 --> 00:53:04,360
Speaker 1: It's done because what they get the body of Doninski

961
00:53:04,840 --> 00:53:07,680
Speaker 1: and they perform an autopsy on it and remove a

962
00:53:07,760 --> 00:53:10,440
Speaker 1: silver bullet from his heart. I think something along those lines.

963
00:53:10,840 --> 00:53:13,960
Speaker 1: So the silver's in there, but the silver doesn't really

964
00:53:14,719 --> 00:53:18,560
Speaker 1: kill Doninski, doesn't kill a super powerful where wolf. It

965
00:53:18,719 --> 00:53:21,160
Speaker 1: just like turns them off. It puts them in this

966
00:53:21,320 --> 00:53:25,520
Speaker 1: state of unlife, but that can easily be reversed.

967
00:53:25,840 --> 00:53:27,640
Speaker 3: It puts him in energy saver mode.

968
00:53:28,120 --> 00:53:30,120
Speaker 1: Yeah, oh what do you know?

969
00:53:30,400 --> 00:53:32,360
Speaker 3: These grave diggers picked the wrong neck to do this

970
00:53:32,480 --> 00:53:37,640
Speaker 3: because it's a full moon. So wolf mode just instantly activates.

971
00:53:37,800 --> 00:53:41,240
Speaker 3: He's growling and grabbing them by the neck with his claws.

972
00:53:41,200 --> 00:53:43,520
Speaker 1: Blood dripping. Yeah, they're gone.

973
00:53:43,680 --> 00:53:48,200
Speaker 3: Yep, Okay. So then Karen, Barbara and Erica they are

974
00:53:48,400 --> 00:53:51,480
Speaker 3: just already at the Carpathian Mountains. They're there. They rent

975
00:53:51,520 --> 00:53:53,360
Speaker 3: a car from a local guy. They drive up to

976
00:53:53,400 --> 00:53:56,839
Speaker 3: the mountains where they have been warned that bandits will

977
00:53:56,920 --> 00:54:00,560
Speaker 3: kill without hesitating and the devil rules overall. On the way,

978
00:54:00,680 --> 00:54:04,239
Speaker 3: they do get attacked by horrible, violent local bandits, but

979
00:54:04,400 --> 00:54:06,920
Speaker 3: they are saved when a figure in black with a

980
00:54:07,000 --> 00:54:12,040
Speaker 3: crossbow shoots all three bandits with crossbow bolts. And they

981
00:54:12,080 --> 00:54:14,000
Speaker 3: don't really seem to have the kind of questions you

982
00:54:14,000 --> 00:54:16,200
Speaker 3: would expect about this. They just like get back into

983
00:54:16,239 --> 00:54:18,000
Speaker 3: the car and drive on to their destination.

984
00:54:18,520 --> 00:54:23,040
Speaker 1: I love too how the crossbow user here just fires

985
00:54:23,120 --> 00:54:25,719
Speaker 1: them off in rapid order, so it's like it's a

986
00:54:26,440 --> 00:54:28,480
Speaker 1: it's like a machine gun crossbow apparently.

987
00:54:28,800 --> 00:54:31,399
Speaker 3: Yeah, yeah, you think it would take more reloading time.

988
00:54:31,480 --> 00:54:33,279
Speaker 3: But maybe he had three crossbows ready.

989
00:54:33,400 --> 00:54:35,239
Speaker 1: That's right. We don't really see. He could have just

990
00:54:35,239 --> 00:54:37,160
Speaker 1: a whole bushel of loaded crossbows on the ready.

991
00:54:37,880 --> 00:54:40,799
Speaker 3: So they go up to this castle. What's up at

992
00:54:40,840 --> 00:54:43,280
Speaker 3: the castle, Well, there's just sort of like loose bulk

993
00:54:43,360 --> 00:54:46,440
Speaker 3: skeletons everywhere, and so like you know, rats are running

994
00:54:46,480 --> 00:54:49,359
Speaker 3: in and out of rib cages, skeletons with swords poken

995
00:54:49,400 --> 00:54:52,920
Speaker 3: out of them, and there are rotting skeletons hanging by

996
00:54:52,960 --> 00:54:55,680
Speaker 3: the neck in hallways. The implication is that they've been

997
00:54:55,760 --> 00:54:57,680
Speaker 3: like that for hundreds of years. I don't know, if

998
00:54:57,719 --> 00:54:58,200
Speaker 3: that would work.

999
00:54:58,880 --> 00:55:01,480
Speaker 1: I mean, I've we see this sort of castle in

1000
00:55:01,520 --> 00:55:04,880
Speaker 1: every Spanish horror movie from this time period, and honestly,

1001
00:55:05,600 --> 00:55:07,520
Speaker 1: you know, if one day I get the opportunity to

1002
00:55:07,640 --> 00:55:10,600
Speaker 1: go to Spain and experience the culture and the history,

1003
00:55:11,040 --> 00:55:12,840
Speaker 1: part of me is going to be a little upset

1004
00:55:13,280 --> 00:55:14,759
Speaker 1: if none of these castles look like this.

1005
00:55:15,200 --> 00:55:19,719
Speaker 3: Where are all the skeletons? Yes, But eventually Erica and

1006
00:55:19,880 --> 00:55:22,359
Speaker 3: Barbara they go down into the crypt and they find

1007
00:55:22,520 --> 00:55:27,280
Speaker 3: Valdemar Doninsky's grave, and they find Tuxedo Guy's Skullkane earlier.

1008
00:55:27,920 --> 00:55:29,680
Speaker 3: One of them points out, hey, that is a silver

1009
00:55:29,840 --> 00:55:32,399
Speaker 3: top that could be useful, and then they go down

1010
00:55:32,440 --> 00:55:36,720
Speaker 3: the hall to find the bathory crypt. Meanwhile, Karen gets scared.

1011
00:55:37,200 --> 00:55:40,080
Speaker 3: She gets startled by another woman in the castle who

1012
00:55:40,160 --> 00:55:41,920
Speaker 3: she just kind of runs into, who has burns on

1013
00:55:42,000 --> 00:55:44,840
Speaker 3: her face. This is mere Kaya, the character who is

1014
00:55:44,920 --> 00:55:48,680
Speaker 3: sort of a tragic character. And then Karen stumbles outside.

1015
00:55:49,000 --> 00:55:52,960
Speaker 3: She gets startled because she sees Valdemar standing up in

1016
00:55:53,080 --> 00:55:56,560
Speaker 3: a like a window or a gateway, pointing a crossbow

1017
00:55:56,640 --> 00:56:00,520
Speaker 3: at her, and then she falls backward and faints, falls

1018
00:56:00,520 --> 00:56:01,080
Speaker 3: into a hole.

1019
00:56:02,200 --> 00:56:04,319
Speaker 1: I have to say, Valdemar in these scenes, he looks

1020
00:56:04,360 --> 00:56:07,839
Speaker 1: like he looks great. He looks like like a medieval vigilante,

1021
00:56:08,200 --> 00:56:10,120
Speaker 1: a medieval superhero or something. Here.

1022
00:56:10,440 --> 00:56:13,840
Speaker 3: Yes, he's got black clothes with gold trim on the

1023
00:56:13,920 --> 00:56:17,719
Speaker 3: tunic and the Baseball symbol on his chest, with a

1024
00:56:17,760 --> 00:56:21,120
Speaker 3: big dagger and a crossbow. He looks cool. But you know,

1025
00:56:21,320 --> 00:56:23,719
Speaker 3: it's Paul Nashy cool, which is a different kind of

1026
00:56:23,800 --> 00:56:28,719
Speaker 3: cool than like Tom Cruise cool. But here's one of

1027
00:56:28,760 --> 00:56:30,600
Speaker 3: those moments. I mean, there have been a couple already

1028
00:56:30,640 --> 00:56:33,080
Speaker 3: that I didn't really explain, but here's one of those moments.

1029
00:56:33,120 --> 00:56:36,160
Speaker 3: I think I alluded to this earlier in this episode,

1030
00:56:36,200 --> 00:56:38,719
Speaker 3: but there are a bunch of moments in the movie

1031
00:56:38,760 --> 00:56:41,600
Speaker 3: where it really feels like something is missing. We just

1032
00:56:41,640 --> 00:56:45,480
Speaker 3: suddenly jump ahead to the middle of another scene, and

1033
00:56:45,920 --> 00:56:49,120
Speaker 3: what happens here is suddenly the other to raise the

1034
00:56:49,200 --> 00:56:54,040
Speaker 3: dead ologists Erica and Barbara are having dinner with Paul Nashy.

1035
00:56:54,080 --> 00:56:55,799
Speaker 3: They're like sitting at a table with him, and he's

1036
00:56:55,880 --> 00:56:59,319
Speaker 3: being a gracious host. It felt to me like something

1037
00:56:59,400 --> 00:57:02,719
Speaker 3: got cut. Karen is recuperating from her fall in a bed.

1038
00:57:04,040 --> 00:57:06,800
Speaker 3: The servant mir Kaya hides a crucifix under her pillow

1039
00:57:07,400 --> 00:57:10,880
Speaker 3: and Paul Nashy is just you know, he's entertaining his guests.

1040
00:57:11,000 --> 00:57:12,960
Speaker 3: He's like, you know, you're welcome to stay here. Oh,

1041
00:57:13,040 --> 00:57:15,560
Speaker 3: by the way, drink this special local infusion, maybe with

1042
00:57:15,800 --> 00:57:18,080
Speaker 3: Transylvanian herbs. I thought this was going to turn them

1043
00:57:18,080 --> 00:57:19,720
Speaker 3: into wolves or something, but it doesn't.

1044
00:57:20,040 --> 00:57:21,960
Speaker 1: Now he's just looking after me and just knows it's

1045
00:57:21,960 --> 00:57:23,919
Speaker 1: a good like diuretic or something. Yeah.

1046
00:57:24,400 --> 00:57:27,160
Speaker 3: But later, Erica and Barbara are hanging out and they're

1047
00:57:27,160 --> 00:57:31,000
Speaker 3: talking about their host's identity and Erica, she is the

1048
00:57:31,120 --> 00:57:33,560
Speaker 3: evil one of the three, but she's also the best

1049
00:57:33,720 --> 00:57:36,560
Speaker 3: scholar of the three, I think. So she has figured

1050
00:57:36,560 --> 00:57:40,400
Speaker 3: out this guy that's Valdemar. Our host is Valdemar Doninski,

1051
00:57:40,480 --> 00:57:43,640
Speaker 3: the wolf Man, and she knows because of the baseball logo,

1052
00:57:44,360 --> 00:57:48,240
Speaker 3: and she explains a legend that I think the way

1053
00:57:48,320 --> 00:57:50,600
Speaker 3: she says it is his curse can only be broken

1054
00:57:51,200 --> 00:57:53,800
Speaker 3: if a woman who loves him enough to die for

1055
00:57:53,960 --> 00:57:56,640
Speaker 3: him stabs him in the heart with a silver dagger.

1056
00:57:57,480 --> 00:58:00,400
Speaker 3: And I was just thinking, wait, isn't that exact same

1057
00:58:00,840 --> 00:58:02,720
Speaker 3: legend in Assignment Terror?

1058
00:58:03,240 --> 00:58:06,120
Speaker 1: That's it. Yeah, it's the exact way that that it's

1059
00:58:06,160 --> 00:58:08,040
Speaker 1: described to us, and exactly the way it plays out

1060
00:58:08,080 --> 00:58:08,920
Speaker 1: in that movie as well.

1061
00:58:09,200 --> 00:58:12,080
Speaker 3: So he's trying to create a pattern with the Voldemar character.

1062
00:58:12,200 --> 00:58:16,040
Speaker 3: It's like Dracula. It's you know, they're rules that persist

1063
00:58:16,160 --> 00:58:19,920
Speaker 3: across different Dracula media, even if the story is totally different.

1064
00:58:20,640 --> 00:58:22,360
Speaker 1: Yeah, though I'm off the top of my head, I

1065
00:58:22,440 --> 00:58:25,640
Speaker 1: can't remember how the Werewolf and the Yetti ended on

1066
00:58:25,800 --> 00:58:27,760
Speaker 1: that front. I did watch it while I had COVID,

1067
00:58:27,800 --> 00:58:30,760
Speaker 1: so I was a little out of it. But yeah,

1068
00:58:30,840 --> 00:58:32,600
Speaker 1: it may end the same way as well. But yeah,

1069
00:58:33,560 --> 00:58:35,880
Speaker 1: lots of things are different, but you know, your Coredeninsky

1070
00:58:36,000 --> 00:58:37,280
Speaker 1: lore more or less is the same.

1071
00:58:37,880 --> 00:58:39,760
Speaker 3: I think it's a good move building out the lore

1072
00:58:39,880 --> 00:58:43,600
Speaker 3: that way. But so Barbara's freaked out, like, oh, we're

1073
00:58:43,640 --> 00:58:45,520
Speaker 3: at the Wolfman's castle. You know, we got to get

1074
00:58:45,560 --> 00:58:47,720
Speaker 3: out of here. But Erica says, don't worry. There's no

1075
00:58:47,800 --> 00:58:50,280
Speaker 3: way he can hurt us because this cane I found

1076
00:58:50,320 --> 00:58:52,960
Speaker 3: in the crypt has a silver top, and bullets can

1077
00:58:53,040 --> 00:58:54,480
Speaker 3: be made out of that silver.

1078
00:58:55,240 --> 00:58:57,080
Speaker 1: Where where are they going to make both?

1079
00:58:57,440 --> 00:58:59,720
Speaker 3: Aren't you skipping a few steps? Also, do you have

1080
00:58:59,800 --> 00:59:01,440
Speaker 3: an that could shoot those bullets?

1081
00:59:01,760 --> 00:59:06,920
Speaker 1: Yeah? There's a crossbow around Yeah. Yeah, So I don't see.

1082
00:59:06,960 --> 00:59:09,040
Speaker 3: Yeah, it seems like they're they're skipping over a few

1083
00:59:09,080 --> 00:59:11,800
Speaker 3: stops on the road to feeling totally safe from wear

1084
00:59:11,880 --> 00:59:17,520
Speaker 3: wolf troubles. Meanwhile, we see Doninsky getting it. He he

1085
00:59:17,720 --> 00:59:20,800
Speaker 3: does wear wolf trouble elsewhere. He goes into wolf mode

1086
00:59:20,840 --> 00:59:23,640
Speaker 3: and goes out to eat some people in the grounds

1087
00:59:23,680 --> 00:59:25,720
Speaker 3: around the castle. He gets into barn mischief.

1088
00:59:26,720 --> 00:59:29,320
Speaker 1: Yeah, there are multiple scenes of him going out and

1089
00:59:29,440 --> 00:59:33,480
Speaker 1: murdering and in general. Though even though we've we see

1090
00:59:33,520 --> 00:59:35,360
Speaker 1: a lot of bandits and we see a lot of

1091
00:59:35,560 --> 00:59:39,439
Speaker 1: grave robbers, Doninsky's finding people to kill that just don't

1092
00:59:39,440 --> 00:59:42,120
Speaker 1: seem to necessarily be up to mischief. They just seem

1093
00:59:42,200 --> 00:59:43,800
Speaker 1: to be in the wrong place at the wrong time.

1094
00:59:44,040 --> 00:59:47,240
Speaker 3: There's a lot of people all camping around his castle,

1095
00:59:47,320 --> 00:59:50,960
Speaker 3: so it's it's bandit country full of horrible, nasty, violent

1096
00:59:51,120 --> 00:59:55,800
Speaker 3: bandits and grave robbers and thieves, but also people just

1097
00:59:56,080 --> 00:59:57,320
Speaker 3: backpacking through the country.

1098
00:59:57,360 --> 00:59:59,640
Speaker 1: I guess you know, they didn't have the all trails

1099
00:59:59,680 --> 01:00:02,560
Speaker 1: at back there, so you didn't have the little icons

1100
01:00:02,560 --> 01:00:05,000
Speaker 1: that would pop up. It's like, okay, bandits, grave robbers,

1101
01:00:05,040 --> 01:00:07,120
Speaker 1: and wear wolves on this one, and maybe we should

1102
01:00:07,160 --> 01:00:08,680
Speaker 1: go for something a little closer into town.

1103
01:00:09,000 --> 01:00:11,680
Speaker 3: There have been eighty two were wolf attacks in this

1104
01:00:11,880 --> 01:00:15,760
Speaker 3: location in the past month. Yeah, now, I think later,

1105
01:00:16,480 --> 01:00:17,960
Speaker 3: I don't know if it's that night some other time.

1106
01:00:18,040 --> 01:00:21,760
Speaker 3: Doninsky is shown talking to Mirkaya, the servant with the burns,

1107
01:00:21,840 --> 01:00:25,760
Speaker 3: and they discuss some things about their new guests. First

1108
01:00:25,760 --> 01:00:28,520
Speaker 3: of all, they say Karen is the chosen one. I

1109
01:00:28,640 --> 01:00:31,080
Speaker 3: don't know what that means yet, And they say Erica

1110
01:00:31,400 --> 01:00:33,600
Speaker 3: is evil. You gotta be careful about her. But then

1111
01:00:33,760 --> 01:00:38,080
Speaker 3: Doninsky is like, but she is beautiful. It's like Valdemar,

1112
01:00:38,640 --> 01:00:39,439
Speaker 3: you should know better.

1113
01:00:40,400 --> 01:00:43,840
Speaker 1: But this is he gets into trouble like this every time. Yeah,

1114
01:00:44,600 --> 01:00:48,720
Speaker 1: remember that last girlfriend you had, that was Elizabeth Bathory.

1115
01:00:49,520 --> 01:00:52,960
Speaker 1: She got you executed and also she turned you into

1116
01:00:52,960 --> 01:00:56,040
Speaker 1: a were wolf. Come on, so Erica.

1117
01:00:56,200 --> 01:01:00,200
Speaker 3: Later she's talking to the grave of Countess Bathory, and

1118
01:01:00,280 --> 01:01:02,880
Speaker 3: there's one part that made me laugh. The line was

1119
01:01:03,040 --> 01:01:06,480
Speaker 3: she says, Elizabeth, the big day is near, so they're

1120
01:01:06,520 --> 01:01:08,680
Speaker 3: building up to the time when she can be resurrected.

1121
01:01:08,760 --> 01:01:12,800
Speaker 3: I think. But here's the part where again it feels

1122
01:01:12,880 --> 01:01:16,280
Speaker 3: like something is just missing. Suddenly, Karen. The last time

1123
01:01:16,320 --> 01:01:18,760
Speaker 3: we saw her, she's like recovering from her fall in bed.

1124
01:01:19,440 --> 01:01:22,880
Speaker 3: Now suddenly she's up and about and she and Doninski

1125
01:01:23,120 --> 01:01:26,160
Speaker 3: are already in a relationship. They're like walking around the

1126
01:01:26,200 --> 01:01:29,280
Speaker 3: castle together having a deep heart to heart conversation and

1127
01:01:29,320 --> 01:01:33,680
Speaker 3: they're kissing, and it feels like, Okay, there should have

1128
01:01:33,720 --> 01:01:36,320
Speaker 3: been a scene where they're like first meeting and falling

1129
01:01:36,360 --> 01:01:38,320
Speaker 3: in love, but we don't see any of that. It's

1130
01:01:38,400 --> 01:01:39,280
Speaker 3: just now they're in love.

1131
01:01:39,720 --> 01:01:42,160
Speaker 1: Yeah. Yeah, it does feel like like we skipped over

1132
01:01:42,280 --> 01:01:45,240
Speaker 1: some steps there, but here we are full blown love story.

1133
01:01:45,560 --> 01:01:48,000
Speaker 1: She is the chosen one. Yeah, and by that, where

1134
01:01:48,280 --> 01:01:51,640
Speaker 1: I think to understand, that means that she loves him

1135
01:01:51,880 --> 01:01:53,880
Speaker 1: enough to potentially kill him with.

1136
01:01:53,960 --> 01:01:56,840
Speaker 3: The silver dagger, with the silver yeah. Oh, and Erica

1137
01:01:57,000 --> 01:02:00,360
Speaker 3: is like staring at them with just know them in

1138
01:02:00,440 --> 01:02:00,880
Speaker 3: her eyes.

1139
01:02:00,960 --> 01:02:03,640
Speaker 1: She's jealous, Yeah, because I mean it's true love. I

1140
01:02:03,720 --> 01:02:06,520
Speaker 1: mean people ask, you know what he's love and it's

1141
01:02:06,560 --> 01:02:09,440
Speaker 1: been a universal human question for so long, But I

1142
01:02:09,520 --> 01:02:12,200
Speaker 1: mean this movie answers it. It is do you love

1143
01:02:12,280 --> 01:02:14,920
Speaker 1: someone enough to stab them through the heart and destroy

1144
01:02:15,000 --> 01:02:18,919
Speaker 1: them when they're a werewolf? That's that's the litmus test

1145
01:02:19,000 --> 01:02:19,320
Speaker 1: right there.

1146
01:02:19,800 --> 01:02:21,600
Speaker 3: I don't know if these are lessons that can be

1147
01:02:21,640 --> 01:02:23,960
Speaker 3: applied to your daily life in a way.

1148
01:02:24,040 --> 01:02:24,480
Speaker 1: I hope not.

1149
01:02:25,440 --> 01:02:28,360
Speaker 3: Oh, but we also love we learn about the mere

1150
01:02:28,440 --> 01:02:32,440
Speaker 3: Kaya backstory. Everybody loves Valdemar b so Erica loves Valdemar

1151
01:02:32,560 --> 01:02:34,880
Speaker 3: or I don't know about loves him. She's jealous at least.

1152
01:02:36,280 --> 01:02:39,760
Speaker 3: Karen loves Valdemar, and mir Kaya also loves Valdemar, but

1153
01:02:39,840 --> 01:02:42,439
Speaker 3: she's like, you know, oh no, Karen, you're the chosen one.

1154
01:02:42,720 --> 01:02:46,920
Speaker 3: You can love him. I'll just be sad. But her

1155
01:02:46,960 --> 01:02:49,640
Speaker 3: backstory is that she was accused of witchcraft and burned

1156
01:02:49,680 --> 01:02:52,520
Speaker 3: at the stake, but then a storm came and extinguished

1157
01:02:52,560 --> 01:02:56,280
Speaker 3: the fire, so she was able to escape and Valdemar

1158
01:02:56,360 --> 01:02:59,919
Speaker 3: took her in. And I was a little confused about

1159
01:02:59,920 --> 01:03:03,440
Speaker 3: the timeline here, like did this happen since he was

1160
01:03:03,920 --> 01:03:05,640
Speaker 3: brought back from the dead a few days.

1161
01:03:05,480 --> 01:03:07,600
Speaker 1: Ago, he would have to be right. This would have

1162
01:03:07,640 --> 01:03:12,560
Speaker 1: had to have happened in nineteen eighty Yeah, in rural Europe.

1163
01:03:12,680 --> 01:03:16,680
Speaker 1: So yeah. Otherwise they're skipping over some other stuff, like

1164
01:03:16,760 --> 01:03:18,120
Speaker 1: well how did she come back to life?

1165
01:03:25,840 --> 01:03:28,160
Speaker 3: So later there's a full moon, and then we get

1166
01:03:28,160 --> 01:03:32,160
Speaker 3: our first Paul Nashy wolf transformation scene. We've already seen

1167
01:03:32,240 --> 01:03:34,760
Speaker 3: him as a wolf man going out and biting people,

1168
01:03:35,200 --> 01:03:37,560
Speaker 3: but now we actually get to see him change and

1169
01:03:37,680 --> 01:03:40,120
Speaker 3: the transformation it's full of it's you know, it's the

1170
01:03:40,200 --> 01:03:43,400
Speaker 3: passion of the wolf. The transformation is painful. It fills

1171
01:03:43,480 --> 01:03:47,200
Speaker 3: him with not just physical pain, but moral and emotional anguish.

1172
01:03:47,520 --> 01:03:49,840
Speaker 3: He seems to be trying his best to resist it,

1173
01:03:50,000 --> 01:03:52,720
Speaker 3: to fight it off, but he can't. He breaks and

1174
01:03:52,840 --> 01:03:55,600
Speaker 3: throws a lot of furnishings in his house as he's changing.

1175
01:03:56,360 --> 01:03:59,720
Speaker 3: And the physical transformation, I would say, is primarily achieved

1176
01:03:59,720 --> 01:04:02,840
Speaker 3: to be a step wise migration of his beard up

1177
01:04:03,000 --> 01:04:03,960
Speaker 3: across his face.

1178
01:04:04,760 --> 01:04:08,920
Speaker 1: Yeah. Yeah, The the aspects of this transformation are very

1179
01:04:09,000 --> 01:04:11,160
Speaker 1: much in line with your classic wolf man effects and

1180
01:04:11,240 --> 01:04:15,440
Speaker 1: I think have to be judged within that context. But

1181
01:04:15,640 --> 01:04:18,640
Speaker 1: I but I do. I do think the ultimate look

1182
01:04:18,720 --> 01:04:21,680
Speaker 1: that we get, the ultimate werewolf makeup, looks really solid

1183
01:04:22,080 --> 01:04:26,160
Speaker 1: and Nashi's performance, the emotion he pours into the transformation

1184
01:04:26,360 --> 01:04:26,840
Speaker 1: is so good.

1185
01:04:27,240 --> 01:04:30,040
Speaker 3: I apologize if this is a question that I've already asked,

1186
01:04:30,080 --> 01:04:32,520
Speaker 3: maybe when we were covering Assignment Terror. I don't remember,

1187
01:04:32,640 --> 01:04:37,200
Speaker 3: But I wonder if one or the other werewolf design

1188
01:04:37,920 --> 01:04:41,400
Speaker 3: better lends itself to the tragedy of the werewolf story.

1189
01:04:41,560 --> 01:04:45,360
Speaker 3: Like so both American werewolf in London and this this

1190
01:04:45,520 --> 01:04:48,160
Speaker 3: story both have like a tragic werewolf where you feel

1191
01:04:48,280 --> 01:04:51,880
Speaker 3: sad for him, But American werewolf has the more dog

1192
01:04:52,040 --> 01:04:56,360
Speaker 3: form quadrupedal, long snout. This one is the you know,

1193
01:04:56,520 --> 01:04:59,520
Speaker 3: the the classic one Janey human style head up on,

1194
01:04:59,640 --> 01:05:03,320
Speaker 3: you know, bipedal. Which one do you think goes more

1195
01:05:03,400 --> 01:05:05,680
Speaker 3: for the sadness of the werewolf condition?

1196
01:05:06,200 --> 01:05:08,320
Speaker 1: Oh, that's a good question. I don't know. I mean,

1197
01:05:08,800 --> 01:05:10,560
Speaker 1: one would be tempted to think, well, the one that

1198
01:05:10,680 --> 01:05:13,880
Speaker 1: looks more human, maybe he leans into more of a

1199
01:05:13,960 --> 01:05:18,200
Speaker 1: human understanding of the monster, and therefore the snouted were

1200
01:05:18,240 --> 01:05:22,520
Speaker 1: wolves lean more monstrous. But I don't think it's necessarily

1201
01:05:22,520 --> 01:05:24,480
Speaker 1: the case, because you know, I think you feel a

1202
01:05:24,480 --> 01:05:27,480
Speaker 1: lot of sympathy for the beast in American Werewolf in London.

1203
01:05:28,840 --> 01:05:31,840
Speaker 1: So hard to say. I will say this though, I

1204
01:05:32,040 --> 01:05:36,200
Speaker 1: think that for the most part, the traditional wolfman has

1205
01:05:36,280 --> 01:05:40,360
Speaker 1: been easier to integrate physically into a scene, whereas if

1206
01:05:40,440 --> 01:05:44,600
Speaker 1: you have an elaborate snouted beast, the practical effect may

1207
01:05:44,640 --> 01:05:46,840
Speaker 1: be difficult to integrate. And then by the time you're

1208
01:05:46,840 --> 01:05:49,440
Speaker 1: getting to see gi stuff, well obviously they're going to

1209
01:05:49,440 --> 01:05:50,920
Speaker 1: be integration problems there as well.

1210
01:05:51,320 --> 01:05:53,959
Speaker 3: Yeah, yeah, I mean I guess the more human form

1211
01:05:54,160 --> 01:05:59,960
Speaker 3: wolf man can do human relationship posture, like can help

1212
01:06:00,200 --> 01:06:01,360
Speaker 3: somebody or something like that.

1213
01:06:01,920 --> 01:06:04,400
Speaker 1: Yeah, and you can, I guess you can also make

1214
01:06:04,440 --> 01:06:06,800
Speaker 1: a strong argument for even though we're talking about a

1215
01:06:06,840 --> 01:06:09,760
Speaker 1: lot of were wolf makeup, the actor is still able

1216
01:06:09,800 --> 01:06:13,680
Speaker 1: to emote through the makeup, through that costume and embody

1217
01:06:13,760 --> 01:06:16,280
Speaker 1: that character in a way that might be more difficult

1218
01:06:16,640 --> 01:06:19,480
Speaker 1: or even impossible with other forms of effects that are

1219
01:06:19,520 --> 01:06:22,800
Speaker 1: gonna be necessary for your full snout boy wear wolf.

1220
01:06:23,280 --> 01:06:27,000
Speaker 3: Yeah. Okay, So anyway, in the scene there's a transformation.

1221
01:06:27,160 --> 01:06:29,600
Speaker 3: But once wolf mode is fully throttled up, like he

1222
01:06:29,840 --> 01:06:32,320
Speaker 3: menaces Karen for a second, it's like, oh, no, is

1223
01:06:32,360 --> 01:06:35,880
Speaker 3: he gonna attack his beloved? But no, Just when he's

1224
01:06:35,920 --> 01:06:38,240
Speaker 3: about to, Mirkaya shows up to save the day. She

1225
01:06:38,520 --> 01:06:40,880
Speaker 3: holds out a silver cross and holds it in his face,

1226
01:06:41,320 --> 01:06:43,280
Speaker 3: and this seems to kind of shame him out of

1227
01:06:43,400 --> 01:06:46,320
Speaker 3: eating his new girlfriend. Instead, he jumps through a window,

1228
01:06:46,840 --> 01:06:50,280
Speaker 3: runs around outside until he finds a guy camping a

1229
01:06:50,400 --> 01:06:55,200
Speaker 3: camper cooking a pot of something over a fire, and

1230
01:06:55,320 --> 01:06:58,120
Speaker 3: he attacks. Then he also goes to a village and

1231
01:06:58,400 --> 01:07:00,480
Speaker 3: just attacks more people. He like bite it's a lady

1232
01:07:00,480 --> 01:07:02,440
Speaker 3: who's getting water out of a well and then kind

1233
01:07:02,440 --> 01:07:05,920
Speaker 3: of casually drops her in a watering trough and runs away.

1234
01:07:06,680 --> 01:07:10,160
Speaker 3: And I'll say Doninsky is a very efficient werewolf. Like

1235
01:07:10,400 --> 01:07:13,160
Speaker 3: most attacks, there are some exceptions, like earlier in the

1236
01:07:13,280 --> 01:07:15,360
Speaker 3: movie there's one part where he like attacks a lady

1237
01:07:15,400 --> 01:07:18,520
Speaker 3: and then like carries her away, But in most attacks,

1238
01:07:18,600 --> 01:07:21,360
Speaker 3: he just like bites somebody and then bolts, like he

1239
01:07:21,480 --> 01:07:24,160
Speaker 3: grabs their arms, bite the neck, show the blood on

1240
01:07:24,200 --> 01:07:26,560
Speaker 3: his teeth to the camera. They gleam, that gleams in

1241
01:07:26,600 --> 01:07:28,600
Speaker 3: the moonlight for a second, and then he drops the

1242
01:07:28,680 --> 01:07:31,160
Speaker 3: human and runs away. The whole thing is about eight seconds.

1243
01:07:31,640 --> 01:07:35,000
Speaker 1: Yeah, I mean it's almost like it's he's he's he's

1244
01:07:35,040 --> 01:07:38,040
Speaker 1: shameful over it. You know. It's like the beast overcomes

1245
01:07:38,120 --> 01:07:41,960
Speaker 1: in and in and in satisfying this thirst, this hunger

1246
01:07:42,040 --> 01:07:44,320
Speaker 1: for just a second. Like it's also enough for him

1247
01:07:44,360 --> 01:07:45,880
Speaker 1: to sort of wake up a little bit and like

1248
01:07:45,960 --> 01:07:47,120
Speaker 1: drop what he's doing and move on.

1249
01:07:48,280 --> 01:07:48,480
Speaker 3: Yeah.

1250
01:07:49,240 --> 01:07:53,560
Speaker 1: I am probably being overly generous in that analysis.

1251
01:07:54,120 --> 01:07:56,720
Speaker 3: No, No, I think that makes sense. Yeah, he's like, uh,

1252
01:07:57,520 --> 01:08:00,600
Speaker 3: there's a little bit of human Dninsky still operative in

1253
01:08:00,720 --> 01:08:03,880
Speaker 3: there that can be like, oh, what have I done?

1254
01:08:03,960 --> 01:08:05,480
Speaker 3: And then he runs away, but then he does it

1255
01:08:05,560 --> 01:08:09,440
Speaker 3: again because he's a wolf. So while he's out, Mirkaia

1256
01:08:09,560 --> 01:08:13,960
Speaker 3: fills Karen in on some lure. She explains, I don't know,

1257
01:08:14,040 --> 01:08:16,439
Speaker 3: so sort of the backstory, and then she's like, by

1258
01:08:16,479 --> 01:08:19,559
Speaker 3: the way, remember your scientist friends who you came here with. Yeah,

1259
01:08:20,120 --> 01:08:23,240
Speaker 3: let's hope they're dead, because if not, they're vampires now.

1260
01:08:23,960 --> 01:08:26,519
Speaker 3: And if you see them again, use this silver cross

1261
01:08:26,560 --> 01:08:30,840
Speaker 3: shaped dagger to protect yourself from them. And you know what,

1262
01:08:31,080 --> 01:08:34,920
Speaker 3: Merkaiah's instincts or right on the money. So Erica has

1263
01:08:35,479 --> 01:08:37,400
Speaker 3: done exactly what she told the professor she was going

1264
01:08:37,479 --> 01:08:40,479
Speaker 3: to do. She hypnotizes Barbara, kills her, uses her blood

1265
01:08:40,600 --> 01:08:45,920
Speaker 3: to rehydrate Elizabeth Bathory like like drips her blood down

1266
01:08:45,960 --> 01:08:49,280
Speaker 3: on her, and the rehydration scene has a pretty cool

1267
01:08:49,320 --> 01:08:52,439
Speaker 3: looking effect where the blood like drips onto the statue

1268
01:08:52,479 --> 01:08:55,360
Speaker 3: of Bathory on the grave and it starts sort of

1269
01:08:55,479 --> 01:08:59,439
Speaker 3: dissolving the stone and releasing puffs of steam, and Erica's

1270
01:08:59,439 --> 01:09:02,640
Speaker 3: looking around and frantically she's like, oh, dude, I did it.

1271
01:09:02,800 --> 01:09:07,320
Speaker 3: What's up now? And the lid lifts off the vault

1272
01:09:07,600 --> 01:09:11,120
Speaker 3: and Bathory wakes up and she has a very creepy outfit.

1273
01:09:11,200 --> 01:09:13,280
Speaker 3: I like the costuming in the scene. It's a black

1274
01:09:13,360 --> 01:09:17,160
Speaker 3: dress with gold trim, kind of like Doninsky's black outfit

1275
01:09:17,240 --> 01:09:20,759
Speaker 3: with gold trim, and it has this two lobed bonnet.

1276
01:09:20,840 --> 01:09:22,439
Speaker 3: I don't know what you call that. It's a bonnet

1277
01:09:22,520 --> 01:09:24,240
Speaker 3: that has two humps instead of one.

1278
01:09:24,520 --> 01:09:26,960
Speaker 1: Yeah, I don't know what it's called either. The bonnet.

1279
01:09:27,400 --> 01:09:30,280
Speaker 3: It's good. It's got the gold trim, the black veil,

1280
01:09:31,240 --> 01:09:34,080
Speaker 3: and no messing around it all. She just grabs Erica

1281
01:09:34,360 --> 01:09:38,599
Speaker 3: vamps her. Okay, here's one vampire servant. It's a neck bite.

1282
01:09:39,400 --> 01:09:42,080
Speaker 3: And then she also raises one of her other servants

1283
01:09:42,120 --> 01:09:44,840
Speaker 3: from the dead. But unlike Valdemar and the Countess, this

1284
01:09:45,000 --> 01:09:47,719
Speaker 3: guy is fully decayed. He's a zombie.

1285
01:09:48,120 --> 01:09:51,680
Speaker 1: Yeah, this would be Outvos that she's revived as like

1286
01:09:51,760 --> 01:09:55,440
Speaker 1: a blind dead as zombie like. He's crumbling and skeletal,

1287
01:09:55,960 --> 01:09:59,240
Speaker 1: but also pretty bulky like obviously he's intended to be

1288
01:09:59,360 --> 01:10:01,439
Speaker 1: the heavy of the outfit. And at this point in

1289
01:10:01,479 --> 01:10:03,679
Speaker 1: the film, I'm like, oh man, it's on now, because

1290
01:10:03,880 --> 01:10:07,240
Speaker 1: Bathory not only has Bathory revived and resurrected, but now

1291
01:10:07,320 --> 01:10:11,519
Speaker 1: she has a crew, she has AVOs here, she's got

1292
01:10:12,040 --> 01:10:15,720
Speaker 1: vampire ladies, a number of them, and seemingly she's going

1293
01:10:15,800 --> 01:10:18,600
Speaker 1: to recruit even more so now she is already a

1294
01:10:18,720 --> 01:10:19,640
Speaker 1: force to contend with.

1295
01:10:20,320 --> 01:10:23,320
Speaker 3: No, there was a part somewhere around here that made

1296
01:10:23,360 --> 01:10:25,880
Speaker 3: me laugh out loud. It's the scene where Paul Nashy

1297
01:10:26,000 --> 01:10:29,479
Speaker 3: comes home after a hard night of wolfing out. You

1298
01:10:29,560 --> 01:10:32,360
Speaker 3: remember he staggers in the door and he's exhausted and

1299
01:10:32,439 --> 01:10:35,840
Speaker 3: covered in blood, and Karen's waiting there and embraces him.

1300
01:10:36,320 --> 01:10:38,240
Speaker 3: It just seems like it's been a hard day's night.

1301
01:10:40,360 --> 01:10:43,040
Speaker 3: But then there's a scene where Bathory has her first

1302
01:10:43,320 --> 01:10:46,080
Speaker 3: like she has the minions assembled. They're all standing there

1303
01:10:46,160 --> 01:10:49,360
Speaker 3: information in front of her crypt. They're ready to take orders.

1304
01:10:50,160 --> 01:10:55,439
Speaker 3: And now both of the former dead rasiologists are wearing

1305
01:10:56,240 --> 01:10:59,360
Speaker 3: vampire queen dresses like they're now all in black dresses

1306
01:10:59,600 --> 01:11:02,200
Speaker 3: like bath three. And I was thinking, wait, where did

1307
01:11:02,240 --> 01:11:05,120
Speaker 3: they get the new costumes? Did they pack these vampire

1308
01:11:05,200 --> 01:11:08,880
Speaker 3: queen dresses when they came to Transylvania Or does Countess

1309
01:11:08,920 --> 01:11:13,599
Speaker 3: Bathory have a community wardrobe for new vampires to source from.

1310
01:11:14,400 --> 01:11:16,360
Speaker 1: Oh, I mean, I guess she has wardrobe because she

1311
01:11:16,439 --> 01:11:19,920
Speaker 1: can't have her new minions running around in like trendy

1312
01:11:20,800 --> 01:11:23,439
Speaker 1: T shirts that they bought in Rome. No, no, no,

1313
01:11:23,680 --> 01:11:26,280
Speaker 1: they need they need to look the part. They're representing

1314
01:11:26,320 --> 01:11:27,120
Speaker 1: a brand, now.

1315
01:11:27,520 --> 01:11:31,320
Speaker 3: That's right. So they are in uniform and Bathory says

1316
01:11:31,400 --> 01:11:34,439
Speaker 3: to them, we need Paul Nashy's power. She says, quote

1317
01:11:34,520 --> 01:11:37,800
Speaker 3: Voldemar must serve me again. We need his strength, his

1318
01:11:38,000 --> 01:11:41,800
Speaker 3: thirst for death, his invulnerability. I won't have all my

1319
01:11:41,960 --> 01:11:45,719
Speaker 3: power back until the Great Ritual Night. Then our Lord

1320
01:11:45,840 --> 01:11:48,400
Speaker 3: Satan will answer my call and the Kingdom of Darkness

1321
01:11:48,439 --> 01:11:51,439
Speaker 3: will come to earth. Until then, the werewolf must be

1322
01:11:51,560 --> 01:11:55,679
Speaker 3: under my command. So there are basically two factions operating.

1323
01:11:55,760 --> 01:11:59,360
Speaker 3: Now You've got like Valdemar, Karen, and Mirkaya on one side,

1324
01:11:59,439 --> 01:12:01,760
Speaker 3: and then bath and all her minions on the other.

1325
01:12:02,240 --> 01:12:05,200
Speaker 3: But they are all in the same building, which is interesting.

1326
01:12:06,280 --> 01:12:08,280
Speaker 1: Well yeah, well there's this I don't know if this

1327
01:12:08,360 --> 01:12:10,919
Speaker 1: occurs now or later, but there's this whole like subplot,

1328
01:12:11,000 --> 01:12:16,240
Speaker 1: the research plot, where they take off, the vampires take off,

1329
01:12:16,320 --> 01:12:19,040
Speaker 1: and then they steal some coffins from somebody or they

1330
01:12:19,120 --> 01:12:25,520
Speaker 1: get delivered. Yet they relocate, but then meanwhile Doninsky's researching

1331
01:12:25,600 --> 01:12:27,599
Speaker 1: and then finally he's like, oh, they didn't relocate, they're

1332
01:12:27,600 --> 01:12:29,880
Speaker 1: in the same castle, so I was a little confused

1333
01:12:29,920 --> 01:12:30,840
Speaker 1: on how that came together.

1334
01:12:31,160 --> 01:12:33,800
Speaker 3: Yeah, I didn't quite understand that either, but for now

1335
01:12:33,880 --> 01:12:36,839
Speaker 3: they're definitely in the same place, and the Blood Countess

1336
01:12:37,120 --> 01:12:41,080
Speaker 3: she sends vampire Erica out to vampamir Kaya because she's like,

1337
01:12:41,160 --> 01:12:44,560
Speaker 3: we got to take away from his side. So you know,

1338
01:12:44,760 --> 01:12:47,920
Speaker 3: Erica does that. She vamps the mer Kaya and then

1339
01:12:48,120 --> 01:12:51,439
Speaker 3: bathes in her blood. But then Valdemar and Karen find

1340
01:12:51,560 --> 01:12:55,920
Speaker 3: evidence of this, and then suddenly we cut there again.

1341
01:12:55,960 --> 01:12:58,880
Speaker 3: There's like some very like jumpy editing. We cut suddenly

1342
01:12:58,960 --> 01:13:02,360
Speaker 3: to these do eating with Voldemar and Karen in this

1343
01:13:02,960 --> 01:13:03,960
Speaker 3: very brown room.

1344
01:13:05,160 --> 01:13:08,760
Speaker 1: Yeah, yeah, out of nowhere, suddenly they seem to be

1345
01:13:09,040 --> 01:13:12,640
Speaker 1: academics that that Valdemar has called up or something, or

1346
01:13:12,680 --> 01:13:14,639
Speaker 1: they're just paying a house visit. They're like, hey, Valdemar,

1347
01:13:14,760 --> 01:13:16,280
Speaker 1: let's let's talk. What's what's going on?

1348
01:13:16,800 --> 01:13:18,920
Speaker 3: And that's what you think, Yeah, that's what you think.

1349
01:13:18,960 --> 01:13:23,400
Speaker 3: At first, they're sharing news of the surrounding towns and countryside.

1350
01:13:23,560 --> 01:13:26,840
Speaker 3: They're like werewolves and vampires are killing everybody and draining

1351
01:13:26,920 --> 01:13:29,880
Speaker 3: their blood. So I think we are to understand now

1352
01:13:29,960 --> 01:13:33,320
Speaker 3: that like Bathorys vampires have been operating in the area

1353
01:13:33,479 --> 01:13:36,040
Speaker 3: for a while, but that clearly would mean we've cut

1354
01:13:36,200 --> 01:13:39,560
Speaker 3: forward in time because they just rose. One of the

1355
01:13:39,640 --> 01:13:42,080
Speaker 3: guys is, well, they're like, you've got to use garlic

1356
01:13:42,160 --> 01:13:45,559
Speaker 3: to protect yourself. One guy recommends putting garlic in your

1357
01:13:45,640 --> 01:13:48,519
Speaker 3: in one's rectum, and then the other one scolds him

1358
01:13:48,560 --> 01:13:51,599
Speaker 3: for being crude and saying that. But they do say, hey,

1359
01:13:51,720 --> 01:13:55,920
Speaker 3: the vampires are women, and then Doninsky's like, oh, I

1360
01:13:56,040 --> 01:13:59,760
Speaker 3: know what that means. That's Bathories people. So while at

1361
01:13:59,760 --> 01:14:02,240
Speaker 3: first it seems like these guys might be professors or

1362
01:14:02,320 --> 01:14:04,759
Speaker 3: clerics of some kind, what do you know, they're also

1363
01:14:05,200 --> 01:14:08,840
Speaker 3: just thieves. They want a burglarize. They want to burglarized

1364
01:14:08,880 --> 01:14:13,000
Speaker 3: Valdemar's castle. Bad idea, guys. But before they get the chance,

1365
01:14:13,040 --> 01:14:15,400
Speaker 3: they're hanging out in a barn somewhere outside. I think

1366
01:14:15,439 --> 01:14:17,720
Speaker 3: this is the barn where everybody gets attacked. It's the

1367
01:14:17,800 --> 01:14:20,760
Speaker 3: barn of Mischief, and they're hanging out there and two

1368
01:14:20,960 --> 01:14:24,920
Speaker 3: of Bathory's vamp women, like Treadmill glide into the room

1369
01:14:25,080 --> 01:14:26,719
Speaker 3: surrounded by unholy mist.

1370
01:14:27,479 --> 01:14:29,600
Speaker 1: It's a cool looking vamp glide scene. I love it.

1371
01:14:30,479 --> 01:14:33,800
Speaker 3: Now here's a history of cinema question. This is used

1372
01:14:33,880 --> 01:14:36,400
Speaker 3: in a lot of films where like the vampire is shot,

1373
01:14:36,760 --> 01:14:39,200
Speaker 3: you know, you see above from above their feet, they're

1374
01:14:39,200 --> 01:14:42,000
Speaker 3: shot from the waist up or something, and they move

1375
01:14:42,200 --> 01:14:45,639
Speaker 3: towards you clearly without walking, like their legs are not moving,

1376
01:14:46,640 --> 01:14:49,360
Speaker 3: and suggesting that maybe they're floating an inch above the

1377
01:14:49,439 --> 01:14:52,320
Speaker 3: floor or something. What was the first movie to do that?

1378
01:14:52,439 --> 01:14:54,559
Speaker 3: Where does the glide convention come from?

1379
01:14:55,479 --> 01:14:58,200
Speaker 1: That's a great question, I would venture to guess. Not here,

1380
01:14:58,720 --> 01:15:02,000
Speaker 1: I'm assuming where is it from somewhere? But yeah, I

1381
01:15:02,040 --> 01:15:03,720
Speaker 1: don't know if this is a product of like the

1382
01:15:04,320 --> 01:15:06,680
Speaker 1: Hammer era, or if this goes all the way back

1383
01:15:06,680 --> 01:15:09,120
Speaker 1: to the thirties or what. Off the top of my head,

1384
01:15:09,120 --> 01:15:11,639
Speaker 1: I can't think of the earliest example that I've seen.

1385
01:15:12,000 --> 01:15:14,720
Speaker 3: I don't recall it happening in any of the universal

1386
01:15:15,320 --> 01:15:17,160
Speaker 3: vampire movies, but I.

1387
01:15:17,160 --> 01:15:19,840
Speaker 1: Feel like it's a definite Hammer play, though I think

1388
01:15:19,880 --> 01:15:21,559
Speaker 1: I've seen it in Hammer films before.

1389
01:15:22,240 --> 01:15:24,800
Speaker 3: Another place where it feels like we suddenly jump ahead.

1390
01:15:24,800 --> 01:15:27,080
Speaker 3: We cut straight from the vamp ladies looming in the

1391
01:15:27,200 --> 01:15:31,240
Speaker 3: midst to Valdemar and Karen finishing graves for the two

1392
01:15:31,360 --> 01:15:34,080
Speaker 3: thief guys talking about how yeah, we had to put

1393
01:15:34,120 --> 01:15:35,680
Speaker 3: steaks in him and cut their heads off to make

1394
01:15:35,720 --> 01:15:38,400
Speaker 3: sure they wouldn't come back. But Valdemar goes on to say,

1395
01:15:38,439 --> 01:15:40,760
Speaker 3: you know what, Okay, so we know what's happening. Now

1396
01:15:40,880 --> 01:15:43,479
Speaker 3: Bathory's back, She's going to want to kill you, Karen,

1397
01:15:43,600 --> 01:15:46,400
Speaker 3: So tonight you've got to lock yourself in your room

1398
01:15:46,920 --> 01:15:50,439
Speaker 3: and keep this cross next to you, the silver Dagger here. Now,

1399
01:15:50,600 --> 01:15:53,519
Speaker 3: Karen at this point asks an extremely sensible question, the

1400
01:15:53,600 --> 01:15:56,080
Speaker 3: one I was thinking about. She's like, why don't we

1401
01:15:56,280 --> 01:15:58,400
Speaker 3: just go down in the crips like they're down there

1402
01:15:58,479 --> 01:16:00,200
Speaker 3: in the same building we are, Why don't we go

1403
01:16:00,280 --> 01:16:03,680
Speaker 3: down and destroy them? But Valdemar has an answer. I

1404
01:16:03,720 --> 01:16:06,000
Speaker 3: guess this makes sense. He says, I'm not strong enough yet,

1405
01:16:06,120 --> 01:16:07,719
Speaker 3: can't do it until the full moon comes.

1406
01:16:08,280 --> 01:16:10,480
Speaker 1: Yeah, yeah, I mean it's it's only in the werewolf

1407
01:16:10,720 --> 01:16:13,080
Speaker 1: form that he's gonna have any chance of standing up

1408
01:16:13,520 --> 01:16:17,000
Speaker 1: to Bathory and her minions. And I think you could

1409
01:16:17,000 --> 01:16:19,240
Speaker 1: probably add on top of that, it's like this apparentlyss

1410
01:16:19,280 --> 01:16:23,040
Speaker 1: castle is apparently huge, and it's it's it's dungeons and

1411
01:16:23,120 --> 01:16:26,040
Speaker 1: its cripts are extensive, so we're not sure even exactly

1412
01:16:26,080 --> 01:16:28,519
Speaker 1: where they might be down there, and they've got to

1413
01:16:28,600 --> 01:16:30,720
Speaker 1: they've got to spend all their time just cleaning up.

1414
01:16:30,880 --> 01:16:35,400
Speaker 1: They would be vampires. Yeah, they surrounding countryside and burying

1415
01:16:35,479 --> 01:16:35,920
Speaker 1: their dead.

1416
01:16:36,600 --> 01:16:39,919
Speaker 3: I guess that's true. So that night there are vampire

1417
01:16:39,960 --> 01:16:43,080
Speaker 3: attacks on both Karen and Valdemar, but Karen really comes through.

1418
01:16:43,200 --> 01:16:46,519
Speaker 3: She saves the day. So vampire Barbara attacks her, but

1419
01:16:46,680 --> 01:16:49,519
Speaker 3: she fights her off with the Silver Cross dagger, and

1420
01:16:49,640 --> 01:16:52,160
Speaker 3: then Barbara emits a lot of smoke, but I couldn't

1421
01:16:52,160 --> 01:16:54,960
Speaker 3: tell if she was actually like destroyed as a vampire

1422
01:16:55,080 --> 01:16:58,640
Speaker 3: or just kind of incapacitated. I'm not sure. But then

1423
01:16:58,640 --> 01:17:01,240
Speaker 3: another one of the vamps, this was Erica, comes into

1424
01:17:01,320 --> 01:17:05,040
Speaker 3: Valdemar's room and starts to hypnotize him, starts kissing him.

1425
01:17:05,080 --> 01:17:07,360
Speaker 3: She's ready to bite, but then Karen busts in with

1426
01:17:07,439 --> 01:17:09,200
Speaker 3: the Silver Cross and rescues him.

1427
01:17:09,800 --> 01:17:11,920
Speaker 1: Is this a scene with the mirror over the bed.

1428
01:17:12,000 --> 01:17:13,960
Speaker 3: Yes, the vampire has no reflection.

1429
01:17:14,160 --> 01:17:17,840
Speaker 1: Yeah. Yeah, so in the forefront it's Valdemar and the

1430
01:17:18,200 --> 01:17:21,200
Speaker 1: vampire embracing and kissing, but then in the mirror behind him,

1431
01:17:21,439 --> 01:17:25,120
Speaker 1: he's like he's like kissing an invisible woman. Yeah that's great.

1432
01:17:25,680 --> 01:17:28,479
Speaker 3: So now Valdemar and Karen. I guess he's changed his

1433
01:17:28,600 --> 01:17:30,479
Speaker 3: mind about going down to the crips. He tries to

1434
01:17:30,520 --> 01:17:35,280
Speaker 3: go on offense, goes down there, he fights the Otvos zombie.

1435
01:17:35,640 --> 01:17:36,760
Speaker 3: That's over pretty quick.

1436
01:17:37,280 --> 01:17:39,519
Speaker 1: Yeah, yeah, he makes pretty short work about Vos. I

1437
01:17:39,600 --> 01:17:41,799
Speaker 1: was kind of hoping for a more drawn out battle

1438
01:17:41,880 --> 01:17:44,920
Speaker 1: between those two, but he knows what he's doing, takes

1439
01:17:44,960 --> 01:17:45,639
Speaker 1: him out in no time.

1440
01:17:45,920 --> 01:17:48,920
Speaker 3: But the vamps aren't there. They have now relocated. And

1441
01:17:49,080 --> 01:17:54,479
Speaker 3: then a terrible twist happens. Bathori herself sneaks into Karen's

1442
01:17:54,560 --> 01:17:57,000
Speaker 3: room at night and she manages to get around the

1443
01:17:57,080 --> 01:18:00,920
Speaker 3: defense the security system of the Silver Deack by covering

1444
01:18:00,960 --> 01:18:03,000
Speaker 3: it up with a cloth. Didn't think of that.

1445
01:18:04,240 --> 01:18:06,200
Speaker 1: Then she does it. She does it telekinetically, I think too.

1446
01:18:06,280 --> 01:18:09,640
Speaker 3: She's like whoaow, yeah, and she covers it up with

1447
01:18:09,680 --> 01:18:13,840
Speaker 3: the cloth and then she vamps Karen, or partially vamps her.

1448
01:18:14,000 --> 01:18:16,479
Speaker 3: So maybe you can help explain what you thought was

1449
01:18:16,479 --> 01:18:19,280
Speaker 3: going on here. So her plan is to re recruit

1450
01:18:19,479 --> 01:18:24,160
Speaker 3: Valdemar to her service, and she's using Karen to do that.

1451
01:18:24,439 --> 01:18:27,120
Speaker 3: So she bites Karen, but then the next day Karen

1452
01:18:27,200 --> 01:18:30,960
Speaker 3: seems fine during the daytime, what's going on? She like,

1453
01:18:31,120 --> 01:18:33,720
Speaker 3: she does have an ominous look in her eye, and

1454
01:18:33,800 --> 01:18:36,640
Speaker 3: then we see Bathory returning again the next night to

1455
01:18:36,760 --> 01:18:39,120
Speaker 3: bite to bite Karen once again. So I think the

1456
01:18:39,240 --> 01:18:43,439
Speaker 3: vamping here is coming in installments, unlike the previous ones

1457
01:18:43,479 --> 01:18:45,599
Speaker 3: were just like one bite and now you're a vampire.

1458
01:18:46,320 --> 01:18:48,360
Speaker 1: Yeah, I think maybe like the willing evil soul that

1459
01:18:48,439 --> 01:18:52,080
Speaker 1: only takes one dose. But yeah, you know, kay, if

1460
01:18:52,120 --> 01:18:54,760
Speaker 1: you're Karen. Karen's a good girl, so it's gonna take

1461
01:18:55,120 --> 01:18:56,920
Speaker 1: take a little more finets, you know, like a little

1462
01:18:57,000 --> 01:18:58,840
Speaker 1: this night, a little the next night, and kind of

1463
01:18:58,920 --> 01:19:03,120
Speaker 1: work up to that that full vampire transformation.

1464
01:19:03,720 --> 01:19:06,200
Speaker 3: Now, there was one part here that was really funny,

1465
01:19:06,320 --> 01:19:08,439
Speaker 3: and I was hoping it was going in a certain direction,

1466
01:19:08,600 --> 01:19:10,559
Speaker 3: but it just it turned out to be a dream sequence.

1467
01:19:10,640 --> 01:19:15,920
Speaker 3: But Valdemar is, he's hanging out, and he I think

1468
01:19:16,040 --> 01:19:20,400
Speaker 3: imagines Bathory saying like praying to Satan or to some

1469
01:19:20,560 --> 01:19:24,840
Speaker 3: other like evil demon saying, my evil Lord, send ninety

1470
01:19:24,960 --> 01:19:26,160
Speaker 3: nine black cats.

1471
01:19:28,479 --> 01:19:31,200
Speaker 1: Yeah, I'm glad we did not get ninety nine black cats.

1472
01:19:31,600 --> 01:19:34,880
Speaker 3: My brain was immediately going ninety nine black cats, ninety nine,

1473
01:19:34,880 --> 01:19:36,800
Speaker 3: fries ninety nine, Tacos ninety nine pies.

1474
01:19:37,320 --> 01:19:39,360
Speaker 1: Yeah, I don't know. I was just thinking of the animals.

1475
01:19:39,360 --> 01:19:40,800
Speaker 1: I don't want to see that many animals in one

1476
01:19:40,880 --> 01:19:43,560
Speaker 1: shot in a film of this of this genre in

1477
01:19:43,640 --> 01:19:44,200
Speaker 1: time period.

1478
01:19:44,640 --> 01:19:47,080
Speaker 3: But so anyway, we're building up to a final confrontation.

1479
01:19:47,240 --> 01:19:49,160
Speaker 3: So it's the night of the full moon, which means

1480
01:19:49,439 --> 01:19:52,719
Speaker 3: Valdemar will finally be at full power for wolf mode

1481
01:19:52,800 --> 01:19:55,840
Speaker 3: to defeat Bathory. But this is also going to be

1482
01:19:56,439 --> 01:19:59,639
Speaker 3: the night that Bathory can do the ritual to achieve

1483
01:19:59,720 --> 01:20:02,439
Speaker 3: her full power and then she would defeat him. But

1484
01:20:02,760 --> 01:20:05,360
Speaker 3: also while he's in wolf mode, he's going to be

1485
01:20:05,400 --> 01:20:08,840
Speaker 3: a bloodthirsty monster, so Karen can't be around, so she'll

1486
01:20:08,880 --> 01:20:13,120
Speaker 3: have to hide from him and protect herself. And then

1487
01:20:13,360 --> 01:20:16,080
Speaker 3: but then after he explains all this and leaves, Karen

1488
01:20:16,200 --> 01:20:19,360
Speaker 3: like admires her neck bites in the mirror, but she

1489
01:20:19,479 --> 01:20:22,040
Speaker 3: still has a reflection, so I think she is half

1490
01:20:22,360 --> 01:20:26,880
Speaker 3: vamped here. Her will has been partially transformed to evil,

1491
01:20:27,000 --> 01:20:29,080
Speaker 3: so she seems like, ah, yes, my neck bites, that

1492
01:20:29,240 --> 01:20:34,440
Speaker 3: is good. I will betray him. And she's serving Bathory's commands,

1493
01:20:34,760 --> 01:20:36,640
Speaker 3: but she can still go out in daytime and she

1494
01:20:36,760 --> 01:20:39,240
Speaker 3: still shows up in a mirror, which actually this seems

1495
01:20:39,280 --> 01:20:41,920
Speaker 3: like an ideal conversation. She's kind of a day walker here,

1496
01:20:42,040 --> 01:20:45,280
Speaker 3: but like an evil day walker. So wouldn't Bathory want

1497
01:20:45,320 --> 01:20:48,120
Speaker 3: to keep servants in this state so that you know

1498
01:20:48,280 --> 01:20:51,160
Speaker 3: they can do all this instead of making them full vampires.

1499
01:20:51,840 --> 01:20:54,760
Speaker 1: Well, I guess it's it's a tenuous state, and I

1500
01:20:54,800 --> 01:20:56,960
Speaker 1: think we see evidence of that, you know, like she's

1501
01:20:57,520 --> 01:21:00,200
Speaker 1: she's not fully one side or the other, so we

1502
01:21:00,240 --> 01:21:01,800
Speaker 1: don't know which way way it's going to go. But

1503
01:21:01,920 --> 01:21:04,880
Speaker 1: also Bathory doesn't know one hundred percent which way she's

1504
01:21:04,920 --> 01:21:05,240
Speaker 1: going to go.

1505
01:21:05,560 --> 01:21:08,160
Speaker 3: Well, Karen's doing doing what she's told for now, like

1506
01:21:08,240 --> 01:21:11,519
Speaker 3: she knocks out Valdemar with a silver cane. He wakes

1507
01:21:11,600 --> 01:21:14,120
Speaker 3: up later, he figures out what's going on that that

1508
01:21:14,240 --> 01:21:17,479
Speaker 3: she has been half vampired, and then he goes to

1509
01:21:17,800 --> 01:21:20,040
Speaker 3: the Vampire Layer, which he knows where it is now.

1510
01:21:20,160 --> 01:21:22,320
Speaker 3: For some reason, I don't remember how he discovers that.

1511
01:21:22,520 --> 01:21:24,000
Speaker 3: It's like by looking at maps.

1512
01:21:24,080 --> 01:21:27,559
Speaker 1: I think something occurred during the research portion of the film. Yeah,

1513
01:21:27,600 --> 01:21:29,120
Speaker 1: and he was like, oh, I know, I know where

1514
01:21:29,120 --> 01:21:30,760
Speaker 1: it is, and it's it's just downstairs.

1515
01:21:31,200 --> 01:21:34,000
Speaker 3: So we get some stakings of the Lesser Vamps, a

1516
01:21:34,080 --> 01:21:38,880
Speaker 3: were wolf transformation and then plenty of werewolf versus vampire wrestling.

1517
01:21:38,960 --> 01:21:41,519
Speaker 3: It's a big it's a big wrestling match. At the end,

1518
01:21:42,800 --> 01:21:47,040
Speaker 3: more vampires are inadvertently staked when the Wolfman tosses them

1519
01:21:47,040 --> 01:21:49,280
Speaker 3: into wooden crates that explode on impact.

1520
01:21:49,600 --> 01:21:51,760
Speaker 1: One in particular of these was a really quality kill.

1521
01:21:51,880 --> 01:21:53,679
Speaker 1: I really like this. This is a cool effect.

1522
01:21:54,120 --> 01:21:56,760
Speaker 3: Bathory tries to force him to obey, you know, there's

1523
01:21:56,800 --> 01:21:59,240
Speaker 3: a do as I command you kind of moment, and

1524
01:21:59,439 --> 01:22:03,479
Speaker 3: he doesn't. He snarls and drools instead. The Wolfman cannot

1525
01:22:03,479 --> 01:22:07,160
Speaker 3: be tamed, so they keep on fighting. There's wrestling, there's

1526
01:22:07,200 --> 01:22:08,439
Speaker 3: some telekinesis I guess.

1527
01:22:09,040 --> 01:22:10,840
Speaker 1: Yeah. There's a great scene where she does like a

1528
01:22:10,960 --> 01:22:15,240
Speaker 1: telekinetic coffin torpedo attack against Doninsky, where she makes a

1529
01:22:15,320 --> 01:22:18,560
Speaker 1: coffin fly at him and it shatters against him. That

1530
01:22:18,720 --> 01:22:21,479
Speaker 1: was really nice. So yeah, it seems like an evenly

1531
01:22:21,560 --> 01:22:24,400
Speaker 1: matched battle for the most part, because Doninsky is strong

1532
01:22:24,520 --> 01:22:26,920
Speaker 1: and fierce and has teeth. But she has teeth too,

1533
01:22:27,360 --> 01:22:29,680
Speaker 1: Plus she has these kind of like force powers she's

1534
01:22:29,720 --> 01:22:31,040
Speaker 1: able to bust out. Yeah.

1535
01:22:31,520 --> 01:22:34,200
Speaker 3: So eventually though, he gets the upper hand and he

1536
01:22:34,400 --> 01:22:37,519
Speaker 3: bites Bathory and then crams her in her coffin, and

1537
01:22:37,720 --> 01:22:42,240
Speaker 3: then the bites on Karen's neck magically disappear, and then

1538
01:22:42,320 --> 01:22:46,840
Speaker 3: Bathory speed rots and emids smoke and Karen is okay.

1539
01:22:46,960 --> 01:22:50,040
Speaker 3: Now it seems she has healed from her half vampire state.

1540
01:22:50,760 --> 01:22:54,479
Speaker 3: But unfortunately, just as he warned, wolf Mode Voldemar can't

1541
01:22:54,520 --> 01:22:58,160
Speaker 3: be stopped. He attacks her, and then Karen, just like

1542
01:22:58,280 --> 01:23:00,600
Speaker 3: the legend foretold, she stabs him in the heart with

1543
01:23:00,680 --> 01:23:02,679
Speaker 3: the silver dagger. I don't know if it's in the heart,

1544
01:23:02,680 --> 01:23:04,880
Speaker 3: actually it looks more like it's in the stomach. But

1545
01:23:05,080 --> 01:23:07,880
Speaker 3: she frees him from his curse, but he already bit her,

1546
01:23:08,000 --> 01:23:10,280
Speaker 3: so I think she's done for as well. And it's

1547
01:23:10,360 --> 01:23:13,519
Speaker 3: the classic sad ending that I think it ended almost

1548
01:23:13,600 --> 01:23:16,639
Speaker 3: exactly like this in the other Nashi movie we saw

1549
01:23:16,720 --> 01:23:20,040
Speaker 3: where they both die, but now his spirit is free,

1550
01:23:20,200 --> 01:23:23,120
Speaker 3: the curse has been lifted, and it's and it's sad,

1551
01:23:23,200 --> 01:23:26,000
Speaker 3: and we get the classic post mortem regression to human

1552
01:23:26,080 --> 01:23:29,000
Speaker 3: morph of the werewolf, and Karen crawls to his side

1553
01:23:29,120 --> 01:23:32,280
Speaker 3: to die. It is tragic, but I have to say

1554
01:23:32,360 --> 01:23:35,000
Speaker 3: that I liked this, so I wouldn't want to change it.

1555
01:23:35,120 --> 01:23:38,360
Speaker 3: But the sense of sadness and tragedy is strongly undercut

1556
01:23:38,439 --> 01:23:41,120
Speaker 3: by the fact that it cuts straight back to the

1557
01:23:41,240 --> 01:23:46,959
Speaker 3: funk theme from Tentacles, and the screen says, end, yeah.

1558
01:23:46,840 --> 01:23:49,559
Speaker 1: That that funk theme from Tentacles too risky a day

1559
01:23:49,680 --> 01:23:53,479
Speaker 1: for Regatta. It's both times it's used in the film.

1560
01:23:53,840 --> 01:23:57,040
Speaker 1: It is at once out of place and a little

1561
01:23:57,080 --> 01:23:59,960
Speaker 1: bit jarring, but also perfect, like I wouldn't go back,

1562
01:24:00,080 --> 01:24:03,280
Speaker 1: can replace it with anything, It's just it's a wonderful track.

1563
01:24:03,840 --> 01:24:08,439
Speaker 3: So many horror films, especially your generation of postmodern horror films,

1564
01:24:08,720 --> 01:24:11,160
Speaker 3: have explored the question of who would win in a

1565
01:24:11,240 --> 01:24:14,760
Speaker 3: fight between a vampire and a were wolf. This movie

1566
01:24:15,040 --> 01:24:17,439
Speaker 3: sort of answers, well, the werewolf will win, but in

1567
01:24:17,520 --> 01:24:20,400
Speaker 3: the end, love conquers all, Love defeats even the wolf.

1568
01:24:21,640 --> 01:24:24,479
Speaker 1: Yeah, I guess in many ways, like the werewolf is

1569
01:24:24,560 --> 01:24:28,760
Speaker 1: the more passionate and emotional end of the monster spectrum,

1570
01:24:29,080 --> 01:24:32,120
Speaker 1: and the vampire is like is the cold hunger you know,

1571
01:24:32,360 --> 01:24:36,479
Speaker 1: So you would want the wolf to win out over

1572
01:24:36,560 --> 01:24:39,120
Speaker 1: the bat in this scenario, I don't know. For some reason,

1573
01:24:39,200 --> 01:24:44,040
Speaker 1: it feels closer to the human experience and more empowering

1574
01:24:44,120 --> 01:24:45,759
Speaker 1: of like noble human elements.

1575
01:24:46,120 --> 01:24:50,240
Speaker 3: When I say the vampire is somewhere between lawful and

1576
01:24:50,439 --> 01:24:55,960
Speaker 3: neutral evil, and the werewolf is somewhere between chaotic evil

1577
01:24:56,040 --> 01:24:57,320
Speaker 3: and chaotic neutral.

1578
01:24:58,000 --> 01:24:59,679
Speaker 1: Yeah, I would agree with that with all that. Yeah,

1579
01:24:59,720 --> 01:25:01,719
Speaker 1: like if you were to flip either of them to good,

1580
01:25:01,920 --> 01:25:05,080
Speaker 1: you'd still want to be with the werewolf over the vampire,

1581
01:25:05,120 --> 01:25:08,479
Speaker 1: because the vampire is just always going to have something

1582
01:25:09,439 --> 01:25:12,400
Speaker 1: less trustworthy about them. I don't know, it seems like

1583
01:25:12,520 --> 01:25:15,120
Speaker 1: vampire versus werewolf movies that I can think of, like,

1584
01:25:15,280 --> 01:25:18,479
Speaker 1: it's always the case the werewolf is the more sympathetic side.

1585
01:25:18,920 --> 01:25:21,120
Speaker 1: You're going to side with the lichens over the vamps.

1586
01:25:22,080 --> 01:25:24,439
Speaker 1: If there is an example of the opposite out there,

1587
01:25:25,360 --> 01:25:26,960
Speaker 1: let us know. I would like to hear about that

1588
01:25:27,080 --> 01:25:28,080
Speaker 1: as well. Well.

1589
01:25:28,080 --> 01:25:30,800
Speaker 3: It's because the werewolf is still partially human, I think,

1590
01:25:31,120 --> 01:25:32,280
Speaker 3: and the vampire is not.

1591
01:25:32,840 --> 01:25:37,280
Speaker 1: Yeah, And also the vampire is more strongly undead, whereas

1592
01:25:37,320 --> 01:25:40,040
Speaker 1: the werewolf is still you know, it's more within the

1593
01:25:40,080 --> 01:25:43,479
Speaker 1: realm of supernatural mammal at that point.

1594
01:25:43,800 --> 01:25:45,719
Speaker 3: And the more I think about it, there's a pretty

1595
01:25:45,720 --> 01:25:48,720
Speaker 3: straightforward moral difference in the kind of like violence they do,

1596
01:25:48,800 --> 01:25:53,800
Speaker 3: which is that the vampire is a is directly intentionally

1597
01:25:53,960 --> 01:25:58,080
Speaker 3: predatorially evil, is just doing harm to other people consciously

1598
01:25:58,320 --> 01:26:01,840
Speaker 3: on purpose, whereas the werewolf seems to be like it

1599
01:26:01,920 --> 01:26:04,040
Speaker 3: has lost its mind in a way, like it doesn't

1600
01:26:04,080 --> 01:26:04,720
Speaker 3: know what it's doing.

1601
01:26:05,240 --> 01:26:07,240
Speaker 1: Yeah. Yeah, I think that's it exactly now that you

1602
01:26:07,320 --> 01:26:10,439
Speaker 1: mention it. The vampire is premeditated. Yeah, and we see

1603
01:26:10,479 --> 01:26:13,800
Speaker 1: that with these characters. Like at the very beginning, Doninsky's like,

1604
01:26:14,320 --> 01:26:15,720
Speaker 1: I don't know, I guess I'm gonna die. I don't know,

1605
01:26:15,720 --> 01:26:18,759
Speaker 1: I've really thought through it. I'm just heartbroken, whereas Bathory

1606
01:26:18,880 --> 01:26:21,760
Speaker 1: is like I will come back, i will raise an

1607
01:26:21,840 --> 01:26:23,960
Speaker 1: army of the dead, I'll have my vengeance, and we'll

1608
01:26:24,000 --> 01:26:25,160
Speaker 1: bring on a new age of darkness.

1609
01:26:25,640 --> 01:26:28,760
Speaker 3: Now, I've got another question about this story. It's clear

1610
01:26:28,880 --> 01:26:31,680
Speaker 3: in this version of the story, the historical understanding of

1611
01:26:31,720 --> 01:26:34,240
Speaker 3: Bathory is that she was guilty of all the murders,

1612
01:26:34,320 --> 01:26:37,280
Speaker 3: like she was a horrible serial killer. I wonder if

1613
01:26:37,320 --> 01:26:40,680
Speaker 3: the other historical interpretation could make an interesting movie, like

1614
01:26:40,800 --> 01:26:43,880
Speaker 3: she was innocent and wrongly convicted but then comes back

1615
01:26:43,920 --> 01:26:44,479
Speaker 3: from the grave.

1616
01:26:45,000 --> 01:26:47,360
Speaker 1: Yeah, I'm up for it. I'm up for any kind

1617
01:26:47,400 --> 01:26:50,400
Speaker 1: of novel Bathory film. I don't think there are a

1618
01:26:50,400 --> 01:26:53,160
Speaker 1: lot of them that are really novel. As I mentioned earlier,

1619
01:26:53,760 --> 01:26:56,160
Speaker 1: I think this one really might be more of an outlier,

1620
01:26:56,240 --> 01:26:59,439
Speaker 1: and that it puts more thought into the treatment. All right, well,

1621
01:26:59,479 --> 01:27:01,840
Speaker 1: there you have it. Night of the Werewolf from nineteen

1622
01:27:01,880 --> 01:27:04,599
Speaker 1: eighty one, pretty solid Nashy film. I think if you've

1623
01:27:04,680 --> 01:27:07,320
Speaker 1: never seen a Nashy picture, this one's a pretty good

1624
01:27:07,320 --> 01:27:10,720
Speaker 1: introduction to the sort of stuff you get. And it

1625
01:27:10,840 --> 01:27:13,120
Speaker 1: also you know, it's not for children by any stretch

1626
01:27:13,160 --> 01:27:16,680
Speaker 1: of the imagination, but it's also not too scandalous. So

1627
01:27:17,479 --> 01:27:21,200
Speaker 1: I recommend this one, and I recommend the Paul Nashi

1628
01:27:21,240 --> 01:27:23,960
Speaker 1: Collections Part one and two. Just a reminder to everyone

1629
01:27:24,000 --> 01:27:28,120
Speaker 1: out there, we are primarily a science podcast, real science,

1630
01:27:28,200 --> 01:27:30,640
Speaker 1: not just the necromancy stuff, so occasionally it comes up

1631
01:27:31,400 --> 01:27:35,240
Speaker 1: with core episodes publishing on Tuesdays and Thursdays, listener Mail

1632
01:27:35,280 --> 01:27:38,200
Speaker 1: on Monday's short form Artifactor, Monster Effect on Wednesdays. But

1633
01:27:38,280 --> 01:27:40,400
Speaker 1: on Fridays we set aside most serious concerns to just

1634
01:27:40,439 --> 01:27:42,920
Speaker 1: talk about weird films on Weird House Cinema. If you

1635
01:27:42,960 --> 01:27:44,760
Speaker 1: want a full list of the movies we've covered over

1636
01:27:44,800 --> 01:27:47,439
Speaker 1: the years, you can go to letterboxed dot com. That's

1637
01:27:47,560 --> 01:27:49,760
Speaker 1: l E T T E r bo x D dot com.

1638
01:27:50,000 --> 01:27:52,120
Speaker 1: Our username is weird House and we have a list there.

1639
01:27:52,520 --> 01:27:54,400
Speaker 1: You can fire them all up, you can organize them

1640
01:27:54,439 --> 01:27:57,200
Speaker 1: by decade and genre and what have you. It's a

1641
01:27:57,240 --> 01:27:59,400
Speaker 1: lot of fun and I also blog about these episodes

1642
01:27:59,560 --> 01:28:01,080
Speaker 1: at some to music dot com.

1643
01:28:01,520 --> 01:28:05,400
Speaker 3: Here's thanks to our excellent audio producer, Jjposway. If you

1644
01:28:05,400 --> 01:28:07,360
Speaker 3: would like to get in touch with us with feedback

1645
01:28:07,439 --> 01:28:10,479
Speaker 3: on this episode or any other, to suggest a topic

1646
01:28:10,640 --> 01:28:12,800
Speaker 3: for the future, or just to say hello, you can

1647
01:28:12,880 --> 01:28:16,160
Speaker 3: email us at contact at stuff to Blow Yourmind dot com.

1648
01:28:22,920 --> 01:28:25,840
Speaker 2: Stuff to Blow your Mind is production of iHeartRadio. For

1649
01:28:26,000 --> 01:28:28,720
Speaker 2: more podcasts from my heart Radio, visit the iHeartRadio app,

1650
01:28:28,920 --> 01:28:31,639
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.